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拍品專文
In 1903, Nolde and his wife Ada moved to the village of Notsmarkov on the island of Alsen. Their fisherman cottage in Alsen's paradis perdu became the painter's beloved rural retreat, and the extraordinary garden surrounding the cottage inspired his most famous flower paintings. Gustav Shiefler, one of the first admirers and collectors of Nolde's work, was one of the few people to visit the couple in Alsen. He recorded how he would sometimes find Nolde seated in front of his easel in the midst of a brilliant profusion of flowers: 'stocks and asters, pinks and carnations...while Frau Nolde and I chatted, as he worked he grew quieter and quieter, but his eyes glowed with pleasure as he applied one colour after another subjecting the confusion of colour to the logic of form' (G. Schiefler, Festschrift fr Emil Nolde anlässlich seines 60. Geburtstages, Dresden, 1927, p. 56).
The chromatic profusion of the garden in Alsen dramatically changed the artist's palette. In 1906, during his fourth stay on the island, Nolde started a new, intense phase of creativity, which culminated in the powerful oils of 1908. Along with Blumengarten, Frau und Mohn (fig. 1), the present painting is paradigmatic of the artist's mature pictorial lexicon at the end of the first decade of the century.
A narrow path at the centre of the mesmerising bushes of irises leads the eye towards the cottage, bathed in the neat, transparent light of the North. At the basis of Nolde's new sense of colour and radical perspective is certainly the work of the Neo-Impressionists, and also Van Gogh, whose paintings the artist had seen in Hagen, where he was in close contact with the collector Karl Ernst Osthaus, the founder of the Folkwang Museum in Essen. 'The radiant colours of the flowers in the sunlight increasingly intensify [Nolde's] palette. With impasto paint, used as it came out of the tube, he modelled the brilliant flower beds and borders... With this direct, eruptive manner of painting and the glowing colours, his pictures... are certainly comparable with Van Gogh's landscapes from the South of France' (M. Moeller, Vincent Van Gogh and Early Modern Art, 1890-1914, Amsterdam, 1990, p. 348).
The chromatic profusion of the garden in Alsen dramatically changed the artist's palette. In 1906, during his fourth stay on the island, Nolde started a new, intense phase of creativity, which culminated in the powerful oils of 1908. Along with Blumengarten, Frau und Mohn (fig. 1), the present painting is paradigmatic of the artist's mature pictorial lexicon at the end of the first decade of the century.
A narrow path at the centre of the mesmerising bushes of irises leads the eye towards the cottage, bathed in the neat, transparent light of the North. At the basis of Nolde's new sense of colour and radical perspective is certainly the work of the Neo-Impressionists, and also Van Gogh, whose paintings the artist had seen in Hagen, where he was in close contact with the collector Karl Ernst Osthaus, the founder of the Folkwang Museum in Essen. 'The radiant colours of the flowers in the sunlight increasingly intensify [Nolde's] palette. With impasto paint, used as it came out of the tube, he modelled the brilliant flower beds and borders... With this direct, eruptive manner of painting and the glowing colours, his pictures... are certainly comparable with Van Gogh's landscapes from the South of France' (M. Moeller, Vincent Van Gogh and Early Modern Art, 1890-1914, Amsterdam, 1990, p. 348).