In October 1913 the German Expressionist artist Emil Nolde (1867–1956) and his wife, Danish actress Ada Vilstrup, joined a government-sponsored expedition to German New Guinea, traveling by way of Siberia, Korea, Japan, China and the Philippines. Nolde had a lifelong fascination with the art of non-European cultures, admiring in particular qualities of directness and expressiveness that he found in their arts.
During this yearlong trip Nolde constantly drew and painted what he saw around him, principally lush, intensely colorful tropical scenes and portraits of indigenous peoples. This little gift book presents around 40 of the now famous landscapes and portraits that Nolde created during his travels.
Published by Hatje Cantz. Edited by Ulrich Luckhardt, Christian Ring. Text by Caroline Dieterich, Daniel J. Schreiber, Roman Zieglgänsberger.
Emil Nolde (1867–1956) is famous for his dramatic ocean views and colorful flower gardens, but his love of the fantastical and grotesque has received less attention. Yet it is clear from his autobiography and his letters that they had a significant impact on his art. Alongside his first oil painting, “Bergriesen” (“Mountain Giants,” 1895–96), his alpine postcards of this period, in which the Swiss mountains appear as bizarre human physiognomies, also convey his fascination with the fantastical. His rejection of realism in favor of a grotesque, alternative world can be seen throughout his oeuvre, from its beginnings to the Grotesken (1905) and watercolors from 1918–19, to the years under the Nazis when he was forbidden to practice his profession. This catalog, which includes works never before shown, is also the first to emphasize this fascinating side of the great painter and water-colorist.
Emil Nolde: Memory Games takes 32 of German Expressionist painter Emil Nolde’s most beautiful flower watercolors and turns them into a set of cards for a memory game.
Find the match to every card you turn over; this card game will sharpen your attention to detail, enhance spatial memory and encourage you to look closely at Nolde’s beautiful paintings.
The memory game comes complete with a foldout booklet introducing the artist and the works included in the game.
Nolde began to paint scenes of flowers in watercolors around 1918. “The color of the flowers drew me magnetically to them, and suddenly I was painting,” remembered Nolde. “I produced my first little garden painting.” Nolde continued to be inspired by flowers and gardens until the end of his career, painting single blooms, beautifully composed still lifes, gardens and flowering fields.
This new title in DuMont's themed Emil Nolde series is devoted to the painter's garden and flower pictures. Wherever he settled, Nolde always planted a flower garden. Nolde's garden at Seebüll is a particular focus of this volume, and one of the artist's most marvelous creations, designed as it is around motifs using the initials A and E (for his wife Ada and his own name). A sumptuous compilation, this new edition of My Garden Full of Flowers includes larger plates.
Though Emil Nolde (1867-1956) began to paint flower watercolors fairly late in his career--around 1918--they became nonetheless central to his oeuvre. These works range from depictions of single blooms and carefully arranged still lifes to full bouquets and fields of flowers captured in flowing motion. His artistic technique in this genre was just as varied. In Emil Nolde: Flowers, 30 of Nolde's flower watercolors--many of which have never before been published--are collected together in a small, gift-book format.
The austere north German landscape—its flat horizons and soaring, dramatic skies crowded with dark clouds—played a central role in the work and imaginary of Emil Nolde (1867–1956). Growing up near the North Sea in the German-Danish border region, Nolde observed the meeting of sky, land and water in vast, unbroken stretches. "The landscape of my youth was like a fairytale to me," he wrote. "My parental home in the flat country, the skylarks swooping joyfully through the air above, my wonderland from sea to sea…" Years after he had left his native region, these brooding landscapes continued to appear in his work, their simplified shapes rendered in Nolde's characteristic brilliant color palette and depicted from extreme distances. Emil Nolde: Landscapes collects 30 of Nolde's watercolor landscapes made around 1918, many previously unpublished, in a small, gift-book format.
Expressionist painter Emil Nolde (1867-1956) was a trailblazing virtuoso of watercolor painting. Applying paint to paper with incomparable intensity, he created richly luminous paintings of brooding, romantic landscapes and alienating modern city scenes. The sea occupies a singularly important place in his oeuvre; Nolde began painting sea watercolors around 1920. Already in 1921, the art historian Max Sauerlandt observed that Nolde saw the sea "not from a beach or a boat but as it exists in itself, devoid of any reference to man, eternally in motion, ever changing, living out its life in and for itself: a divine, self-consuming primal force that, in its untrammeled freedom, has existed unchanged since the very first day of creation." Emile Nolde: The Sea gathers together nearly 30 of these beautiful watercolor paintings, many of them previously unpublished, in a charming gift-book format.
Published by DuMont. Edited by Manfred Reuther, Christian Ring.
Emil Nolde (1867-1956) devoted as much time and care to his prints as to his paintings. Drawing on the massive collection of the Nolde Stiftung, The Painter’s Prints surveys his etchings, woodcuts and lithographs, and his various suites in each medium.
Published by DuMont. Edited by Alexander Klar, Manfred Reuther, Ulrich Schumacher.
Emil Nolde (1867-1956) and Emil Schumacher (1912-1999) shared an expressionistic relish of bold line, brash color and emphatic contrast, and applied this style respectively to modernist figuration and mid-century abstraction and figuration. This volume unites these kindred souls for the first time.
Published by DuMont. Edited by Manfred Reuther. Text by Joerg Garbrecht.
A recurrent theme for Emil Nolde was the portrayal of women, cast in roles to which the artist brought his troubled projections: woman as mother, muse, model, music hall girl; saints, sinners and seductresses. Here, color reproductions of 50 of Nolde's paintings are examined alongside works by artists from Giorgione and Klimt to Munch and Warhol.
Emil Nolde kept close ties to Berlin: from 1905 on, he usually spent the winter months in the capital. The painter had his own live-in studio first on Tauentzienstrasse and then later on Bayernallee, in a building that was later destroyed, in a bombing raid in 1944. In the late 1920s, Nolde even asked van der Rohe build a house for him in Dahlem. This plan was never realized, but in many of his paintings, Berlin's character plays an important role. In gathering works by Nolde around a particular theme, this large monograph revives a DuMont tradition. Nolde's vivid pictorial creations are accompanied by numerous documents relating to his various stays in Berlin and the importance of the “Deutsches Theater” and Expressionist dance for his art.
This new title in DuMont's themed Emil Nolde series, which includes Wanderlust and Unpainted Pictures, is devoted to the painter's garden and flower pictures. Wherever he settled, Nolde always planted a flower garden. Sitting in front of his floral arrangements, this great colorist produced numerous watercolors and oils (though the latter were done indoors, in his studio). Nolde's garden at Seebüll is a particular focus of this volume, and one of the artist's most marvelous creations, designed as it is around motifs using the the initials A and E (for his wife Ada and his own name). A sumptuous compilation, My Garden Full of Flowers records an enduring love affair and one of art's finest virtuosos of color at the peak of his achievement.
Published by DuMont Buchverlag. Text by Jörg Garbrecht, Manfred Reuther.
In 1941, the president of the Reichs Chamber of the Visual Arts in Berlin prohibited the painter Emil Nolde “from all professional activities in the field of the visual arts.” “I was in the midst of beautiful, productive painting when this ban on painting and selling arrived,” Nolde recalled later. “The brush fell out of my hand.” Nolde continued to paint during the eight years of his ostracism from his home in Seebüll. He called the more than 1,300 small-format watercolors and gouaches that he produced “unpainted pictures,” and wrote that “The small works on paper … provided me with great pleasure personally and as a painter.” This book illustrates over 100 of these works—more than 50 of them for the first time—as well as selected oil paintings.
Published in association with the Nolde Foundation, this is the sixth volume in DuMont's series devoted to painter Emil Nolde (1867-1956). As a member of Die Brücke (The Bridge), Nolde was known for his vigorous brushwork, rhythmic compositions and extraordinary use of color. A farmer's son from the German-Danish frontier, Nolde traveled widely throughout Europe: Switzerland, Denmark, France, Italy, Sweden, England, Austria, Belgium, Holland and Spain. While the artist is usually associated with paintings and watercolors of his native gardens in Germany, this latest edition focuses on his European travels and how he translated his wanderlust onto canvas. Guided by imagination, Nolde created an integrated vision of the world that celebrated a love of nature and all that was around him. Featuring mountain panoramas and studies of the people he encountered, Emil Nolde: Wanderlust gives new perspectives on this leading figure in German Expressionism.
Published by Hatje Cantz. Edited by Brigitte Reinhardt. Essays by Tilman Osterwold, Manfred Reuther, et al.
Emil Nolde is one of the foremost German Expressionist painters. Portraits play a prominent role in the artist's oeuvre, particularly those of his early creative period. During those years in which Nolde's art developed to maturity, his painting was enriched by an innovative power that inspired later artists well into the twentieth century. Some 60 of the unparalleled portraits completed by Emil Nolde between 1903 and 1918 are presented and described in this book. These works include the masterful self-portraits of 1916-17, the famous double portrait “Brother and Sister” of 1918, and his portrait-style images of people he encountered while traveling in New Guinea from 1913 to 1914. The autonomy and immediacy of Nolde's painting is particularly evident in these works. Fascinated by the obscure inner-stirrings of human identity, he developed an unusual gestural mode of painting.
Published by Hatje Cantz. Edited by Tilman Osterwold. Essays by Thomas Knubben, Jolanthe Nolde, Manfred Reuther,
Unpainted Pictures is the title of a fascinating watercolors series painted by Emil Nolde from 1938 through 1945. Nolde created these works in the seclusion of his own home in Seebll, after his works had been confiscated by the Nazis and he himself had been forbidden to paint. He lent many of them to friends for safekeeping, in order to protect himself and his art from Gestapo raids. These small, free, imaginative works were ''unpainted'' in the sense that they did not officially exist and were not supposed to exist--also, Nolde hoped to expand on them at a later date. He never offered any of these watercolors for sale, and today this collection--which has become, for many, the summary and epitome of his work--resides at the Nolde Foundation in Seebll. All of the 104 watercolors in the series are presented here, along with a journal, consisting of dated notes, thoughts, questions and dreams, which forms a record of the period in which the Unpainted Pictures were being created. Gorgeous, diverse and quietly moving, these Unpainted Pictures continue to be nothing short of a revelation.