Hans fehr emil nolde biography
•
Emil Nolde:
Buy original works
Shortly after Nolde left the artists' association "Die Brücke" at the end of 1907, he met the Norwegian painter Edvard Munch in Berlin, whose work impressed him greatly. During the visit of his friend Hans Fehr in 1908, he began to discover the technique of watercolour painting and finally how to realise it with virtuosity.
Today, Nolde's oeuvre includes numerous watercolour works, oil paintings, graphic works and several sculptures. His intensive use of colour is characteristic. Although the artist always remained figurative in his motifs (e.g. landscapes, flowers, city scenes, religious motifs), he "composed" his pictures entirely from colour. When Nolde moved into his brick house "Seebüll" in Neukirchen in northern Germany in 1927, he surrounded it with a large garden that offered him motifs in abundance.
Research had long noted that Nolde's position on National Socialism was problematic. His exclusion from the Reich Chamber of Fine Arts was asso
•
Summer Afternoon
Summer Afternoon is one of the most beautiful and important paintings executed by Nolde in 1903, in a crucial period of his artistic career. In 1902 he had decided to change his family name, Hansen, for that to his native town, Nolde, a rural village in Schlesswig-Holstein, nära the frontier with Denmark. That same year he had married Ada Vilstrup. Before the end of the year, his mother died. Nolde, who had grown up in a family of peasants, wished to live again in the country; Ada's fragile health gave him the excuse he needed. In May 1903 he settled in Notmarskov, on the island of Alsen; at the beginning of the autumn he rented a fisherman's cottage in Guderup on the south of the island. The Noldes stayed there until the spring of the following year. Upon their ankomst in Guderup they received a visit from Hans Fehr and his wife; in the previous months Fehr, a young university teacher, had become a client and friend of Nolde's.
Their sojourn in Guderup, in
•
Details
43 items
The collection comprises 36 letters and five postcards from Emil Nolde and his wife Ada to the Swiss born collector, jurist and Nolde biographer, Hans Fehr and his wife Nelly. Written over a period of forty years, these letters offer insight into Nolde's expressionist conception of art, his relationships with other artists, dealers and critics, his views of politics, and the larger context of the German society of his time. Also included is one unsigned and undated draft for a letter, annotated with the name Otto Wetter; and one black-and-white photographic portrait of Emil Nolde
Interspersed with matters of daily life throughout these letters are reflections on other artists and artistic movements, abstract aesthetic issues, printmaking, also details about exhibitions of Nolde's work and the prices of his prints and paintings. Nolde comments about a number of German art historians, critics, and art dealers of his time. Among the artists mentioned are Arnold Bo