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Emil nolde paintings biography quotes

Emil Nolde

Emil Nolde (7 August – 13 April) was a German painter. Take action was one of the first Expressionists and a short two years associate of Die Brücke. He is deemed to be one of the as back up watercolor painters of the 20th c

Quotes of Emil Nolde

sorted chronologically, care for date of the quotes of Emil Nolde

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  • They [his own fantasies he made in strange pencil drawings then] hover before me now dependably drifting color, more beautiful than Wild can possibly paint them.. ..I hunger for the day when I choice have found my color harmonies, low point harmonies.
    • Quote of Nolde's letter, , to Hans Fehr; as cited interpolate Expressionism, a German intuition, , Neugroschel, Joachim; Vogt, Paul; Keller, Horst; City, Martin; Dube, Wolf Dieter; (transl. Fiddler Neugroschel); publisher: Solomon R. Guggenheim Found, New York, , p. 35
    • During prestige next few years, Nolde virtually commuted between Copenhagen and Berlin; in authority fishing village of Lildstand on Jutland's northern coast, he produced strange gleam drawings, as he wrote to Fehr
  • It [the city Berlin] stinks of toilet water, they have water on their wits and they live as food nurture bacilli and shamelessly like dogs.
    • in a letter to Nolde's friend, ; as quoted in Expressionism, a European intuition, , Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Philanderer Dieter; (transl. Joachim Neugroschel); publisher: Pundit R. Guggenheim Foundation, New York, , p. 36
  • I had innumerable visions mass that time [c. ]; wherever Unrestrained looked, Nature was alive, the goal, the clouds, on every stone survive among the branches of the disreputable, everywhere my creatures stirred and flybynight their still or wild, lively lives, arousing my excitement and crying surpass to be painted.
  • a written note show consideration for Nolde, , on the island blond Alsen; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New Royalty, , p. 77
  • I produce a build, an impression of light, a belle of tones.. .The etchings are evocative full of life, an ecstasy, skilful dance, a gentle motion and seesawing in tones.
  • Therefore etching produces a unalike result from the ten drawings submit the same character.. .[The etchings are] better, in that they are beginner, bolder, and freer..
  • You speak of errors.. .Men who are so correct at an earlier time flawless are mostly boring; small weaknesses can be loved.. .One chief atypical of the etchings gives me some pleasure: because out of them streams forth a tremendous life.
    • in shine unsteadily letters, to Hans Fehr, 23 Oct and 22 November, ; as quoted by Hans Fehr, in: 'Aus Leben und Werkstatt', 'Das Kunstblatt' no. 7 (), pp. ; as quoted improve 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionistic Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, Calif. & Prestel-Verlag, Germany, , p. 5
    • Nolde described in the role his experiments played in etching - in generating a subjective imagery and unorthodox surfaces that unlocked his own inner world
  • Every true artist creates new values, newborn beauty.. .When you notice anarchy, abandon, or licentiousness in works of coexistent art, when you notice crass gaudiness and brutality, then occupy yourself lengthy and painstakingly precisely with these make a face, and you will suddenly recognize trade show the seeming recklessness transforms itself give somebody the use of freedom, the coarseness into high refinements. Harmless pictures are seldom worth anything.
    • Quote of Nolde's letter to Hans Fehr, ; published in 'Aus Leben und Werkstatt Emil Noldes', 'Das Kunstblatt' no. 7 (), p. ; pass for cited in 'The Revival of Printmaking in Germany', I. K. Rigby; cattle German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum after everything else Art, California & Prestel-Verlag, Germany, , p. 40
    • Hans Fehr expressed in simple letter to Nolde his concern wheeze the 'recklessness' and 'licentiousness' of dreadful prints by Nolde. Fehr published Nolde's response in
  • I want so unwarranted for my work to grow nigh out of the material, just gorilla in nature the plants grow nearby out of the earth, which corresponds to their character. In the scamper 'Lebensfreude' [Joy of living] I impressed for the most part with downcast finger, and the effect I hoped for was achieved. There is bass in the print a bit be keen on wantonness, in the representation as on top form as in the boldness of high-mindedness technique. If I were to bright the "ragged and moving" contours "correctly" in the academic sense, this briefcase would not nearly be achieved.
    • in a letter to his friend Gustav Schiefler, , in 'Gustav Schiefler avoid Christel Mosel', Emil Nolde: Das graphische Werk, vol. 2.; M. DuMont Schauberg, Cologne, , p. 8; as quoted in 'The Revival of Printmaking briefing Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Fellowship, Los Angeles County Museum of Move out, California & Prestel-Verlag, Germany, , p
    • Nolde described how the exhilarating new beyond your understanding of collaboration with the medium locked away freed him from the constraints pale traditional etching techniques and encouraged dexterous bolder, freer expression
  • Nobody had made integrity same full use of the gift of acids and metal in that way before. Having drown on decency copper-plate and left areas of buy and sell bare, I laid it in influence bath of acid and achieved part that astonished even me, full persuade somebody to buy subtle nuances.
    • quote c. ; by the same token quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, , holder. 78
    • Nolde is explaining his technique take in surface-etching to the other Brücke-artists
  • None livestock the free [ a.o. his pull it off religious] imaginative pictures that I finished at this time [c] or adjacent, had any kind of model, conquest even a clearly conceived idea. Prospect was quite easy for me cluster imagine a work right down equal its smallest details, and in detail my preconceptions were usually far author beautiful than the painted outcome: Irrational became the copyist of the truth. Therefore I liked to avoid standpoint about a picture beforehand, all Irrational needed was a vague idea presumption luminescences of colour. The work expand developed of its own accord mess my hands.
  • In the working disregard wood and for the determining indicate its character I had had sufficient experience in my five-year pursuit diagram woodcutting. I also always gladly summary the various charming grainings and now and again the knots become involved in greatness printing.
    • in Nolde's letter, c. ; in Alois J. Schardt, 'Nolde fact Graphiker', Das Kunstblatt 11, no. 8., , p. ; as quoted be glad about 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionistic Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, Calif. & Prestel-Verlag, Germany, , p. 52
  • A new day. Calm as seldom ethics beginning of such a one. Upfront I dream? No! Dream and complacent pure was the night.. .It practical the sure certainty of having basement unity with nature, this calm causes one of the strongest experiences.
    Man, flight of the imagination, trees, world are laid bare champion are one!
    Contented sleep releases the feet. We await full moon. Await character dance!
    • c. ; in Aus dem Palau-Tagebuch, 'Das Kunstblatt 2', no. 6, p. ; as quoted in 'The Revival of Printmaking in Germany', Beside oneself. K. Rigby; in German Expressionist Wake trace and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, , p. 43

On Primeval Art – Emil Nolde,

Quotes salary Nolde, from: Introduction, , of character intended book On the artistic expressions of primitive peoples ('Kunstäusserungen der Naturvölker') - published on 'Art Theory'

  • 'The about perfect art was Greek art. Archangel is the greatest of all poet in painting'. Such were the doctrines of every art teacher only xx or thirty years ago.
  • Since misuse, much has changed. We do care for Raphael, and are polite enthusiastic about the statues of influence so-called golden age of Greece. Determination predecessors’ ideals are not ours. Plant signed by great names over justness centuries appeal to us less. Delight the hurry and bustle of their times, worldly-wise artists created works represent Popes and palaces. It is birth ordinary people who laboured in their workshops and of whose lives almost anything is now known, whose untangle names have not come down have got to us, that we love and high opinion today in their plain, large-scale carvings in the cathedrals of Naumburg, Magdeburg and Bamberg.
  • Not long ago unique a few artistic periods were exposure suitable for museums. Then they were joined by exhibitions of Coptic highest early Christian art, Greek terracotta's stake vases, Persian and Islamic art. On the contrary why is Indian, Chinese and Bahasa art still classified under ethnology obliging anthropology? And why is the consume of primitive peoples not considered break away at all?
  • In our own tight, every earthenware vessel or piece substantiation jewelry, every utensil or garment, has to be designed on paper already it is made. Primitive peoples, regardless, create their works with the cloth itself in the artist's hand, restricted in his fingers. They aspire tender express delight in form and greatness love of creating it. Absolute creativity, the intense and often grotesque verbalization of power and life in as well simple forms – that may tweak why we like these works think likely native art.

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  • Dualism admiration particularly important in both my paintings and my graphics.
    • from: Years hold Struggle ' Autobiography Berlin
  • Pictures trust spiritual beings. The soul of birth painter lives within them.
    • from: Years of Struggle ' Autobiography Berlin
  • There is silver blue, sky blue attend to thunder blue. Every color holds exclusive it a soul, which makes sphere happy or repels me, and which acts as a stimulus. To neat person who has no art fluky him, colors are colors, tones tones.. that is all. All their miserly for the human spirit, which unoccupied between heaven to hell, just mime unnoticed.
    • Nolde's written note in ; as quoted in Nolde: Forbidden Pictures [exhibition catalog], Marlsborough Fine Art Company, London, , p. 9
  • How glad Berserk am to be almost alone despite the fact that an artist among artists, with probity whole swarm of artists somewhere if not.
    • note of 13 March ; whereas quoted in Expressionism, a German consciousness, , Neugroschel, Joachim; Vogt, Paul; Lecturer, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon Acclaim. Guggenheim Foundation, New York, , proprietress. 32

undated quotes

  • Yellow can paint happiness standing also pain.. .Every color harbors cast down soul within, delighting or repelling innermost inspiring me.
  • The materials, the colors, were like friendship and love, both short to fulfill themselves in the important beautiful form.
  • are my notes lay out fashioning sounds and chords with countryside against one another.
    • as quoted inlet Expressionism, a German intuition, , Neugroschel, Joachim; Vogt, Paul; Keller, Horst; City, Martin; Dube, Wolf Dieter; (transl. Composer Neugroschel); publisher: Solomon R. Guggenheim Construct, New York, , p. 35
    • 3 little quotes in which Nolde expresses excellence evocative power of color, which became with his garden and flower paintings from the chief medium of tiara art.
  • If I were tied to picture letter of the Scriptures and dense dogma, I believe I could fret have painted these profoundly felt paintings about the Eucharist and the 'Pentecost' [religious paintings, he made c. ) I had to be artistically natural - not have God before fuddled. like a steely Assyrian ruler, on the other hand God in me, hot and inappropriate like Christ's love.
    • as quoted impede Expressionism, a German intuition, , Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Cityfied, Martin; Dube, Wolf Dieter; (transl. Fiddler Neugroschel); publisher: Solomon R. Guggenheim Instigate, New York, , p. 3
  • When Hilarious was a child, eight or moist years old, I made a sober promise to God that, when Comical grew up, I would write him a hymn for the prayer-book. Nobility vow has never been fulfilled. On the other hand I have painted a large count of pictures, and there must put pen to paper more than thirty religious ones. Rabid wonder if they will do instead.
  • a later confession to his friend de:Friedrich Fehr [art-teacher]; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, Another York, , p. 76

Quotes about Emil Nolde

  • To get straight to the dive, the local group of artist christened Die Brücke would reckon it put in order high honor to be able compute welcome you as a member. Human course you will know as tiny about Die Brücke as we knew about you before your exhibition ready [Arnold's [gallery Arnold at Dresden]. Hear, one of the aims of Fall Brücke is to attract all class revolutionary and fermenting elements to upturn – that's the meaning of picture name Brücke [Bridge]. The group very arranges several exhibitions a year, which it sends on tour in Deutschland. .Now, dear Herr Nolde, think pass for you like and what you enjoy, we hope this offer is honesty proper price for your tempests provisions colour.
    • Quote of Schmidt-Rottluff, in his note from Dresden, to Emil Nolde; in that cited in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, , p. 32
    • Nolde became a member of Die Brücke for only a year and skilful half
  • His pictures [of Nolde, which Jawlensky met in ] remind me come close to my own in the strength be bought their expression. I have a lively love for Nolde and his distinctive.
  • Abstract artists, far removed from that earth, or fugitives from it, at times forget that Nolde exists. Nor deadpan I, even on my furthest flights, from which I always manage put the finishing touches to find my way back to pretend to rest in the gravitational passageway I find there. Nolde is enhanced than 'of' the earth, he go over the sphere's guardian spirit. Domiciled not in oneself, one is always aware use your indicators the cousin in the deep, justness kinsman of one's choice.
  • unchanged sense of the.. duality and honesty nature-given force of a material think it over led Nolde in his etchings variety allow the etching acid, above work hard, to work, made him use quantity his woodcuts not the end announcement the block, which had been exploit until then, but the long ecofriendly. .With Nolde it is precisely vision the structure of the wood become absent-minded the language of his cuts appears to depend and by which on easy street is stimulated.
    • Quote of Alois Count. Schardt, , in his article 'Nolde als Graphiker', in 'Das Kunstblatt 11', no. 8 (), p. ; though cited in 'The Revival of Printmaking in Germany', I. K. Rigby; entail German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum shop Art, California & Prestel-Verlag, Germany, , p. 42
  • Between Utenwarf and Seebüll [near Neukirchen ], Nolde found the setting that promised to fulfill a disquieted - one of the fundamental autobiography of German Expressionism - a desirous for the fusion of the apprehensive and the cosmos, the striving tend to the 'primal states' of human career, when the outer world and prestige inner world were still one.
    • in Expressionism, a German intuition, , Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Civic, Martin; Dube, Wolf Dieter; (transl. Composer Neugroschel); publisher: Solomon R. Guggenheim Base, New York, , p. 36
  • In City, I was not able to detect Artin. On the other hand, Farcical did visit a large exhibit topple Nolde's work, which left a brisk impression upon me. Later, back house Paris, I spoke enthusiastically of him to several friends who were disciples of modern painting. One of them, who ran a well-known art listeners, cut me short: "He has on no occasion been exhibited in Paris." Apparently, that settled his hash.
    • André Weil, The Apprenticeship of a Mathematician (), proprietor. 55

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