拍品專文
In Spring 1903 Nolde had moved to the village of Notsmarkov on the island of Alsen (see lot 141). There he filled the garden of his small fisherman's cottage with a plethora of flowers, just as he was to do later in his houses at Ütenwarf and Seebll. The first flower paintings date from 1906 and it was through them that Nolde would gradually discover how colour could transform his vision of nature. He recalled how it was the colour of the flowers which attracted him irresistably.."The blossoming colours of flowers..and the purity of those colours - I love them. I loved the flowers and their fate: shooting up, blooming, radiating, glowing, gladdening, bending, wilting, thrown away and dying." (P. Selz, Emil Nolde, exh. cat., New York, 1976, p. 49).
Of these works Werner Haftmann writes, "Space and objects are treated less naturalistically; the colours lie as flat as in a tapestry and disposed in such a way that both the brilliant hues of the flowers and the energy of their luxuriant growth come to full expression. the colour harmonies, too, become less naturalistic...Here what might be called 'ecstatic Impressionism' is already left behind, and we find ourselves in the presence of something else. The colours are freely chosen; those suggested by nature serve only as spring boards, and out of them a paraphrase suggested by the theme is developed... referrring to this period, Nolde wrote in his book Years of Struggle (Jahre der Kämpfe): 'I always wanted my colours to work themselves out on the canvas as consistently as nature produces her own creations, as minerals or crystals take shape, as moss and algae grow, as the flower unfolds to bloom in the rays of the sun'. The assumption that colour possesses an intrinsic energy was of extraordinary importance for the whole period that followed. Colour was also to afford the appropriate medium for evoking other domains still further removed from the visible." (W. Haftmann, Emil Nolde, New York, p. 20-21)
Nolde painted a number of flower and garden paintings in 1906 and 1907, many of them done in the gardens of neighbours like Borchardt or Anna Wied. In a letter from Nolde to Rudolf Hoffmann, dated Hamburg, 27.12.46, the Artist writes 'The two figures are my wife and the one farther back Frau Borchardt in their flower-garden.' Nolde would paint Ada standing or seated, surrounded by a carpet of blazing colours, her figure often indicated by the briefest of brush-strokes. In this piece she stands with her back to the viewer, the deep pink of her dress matching the resonance of the flowers that illuminating the foreground. Here, the vibrant pink and purple blooms are surrounded by varying shades of green and cooler tones of blue, echoed in the dress of the older woman and the edge of the pathway. Nolde applies each pigment with loose, expressive brushstrokes: the rough, painterly surface heightening the contrast between vivid colour accents and light and shade. The same effects and the same riotous display of colours are found in other garden scenes of the time: Anna Wied's Garten (Urban 223), Trollhois Garten (Urban 224), now in the Nolde-Stiftung, Seebll, and Blumengarten, Frau im Weissen Kleid, en face (Urban 272) in the Karl-Ernst-Osthaus-Museum, The Hague.
Of these works Werner Haftmann writes, "Space and objects are treated less naturalistically; the colours lie as flat as in a tapestry and disposed in such a way that both the brilliant hues of the flowers and the energy of their luxuriant growth come to full expression. the colour harmonies, too, become less naturalistic...Here what might be called 'ecstatic Impressionism' is already left behind, and we find ourselves in the presence of something else. The colours are freely chosen; those suggested by nature serve only as spring boards, and out of them a paraphrase suggested by the theme is developed... referrring to this period, Nolde wrote in his book Years of Struggle (Jahre der Kämpfe): 'I always wanted my colours to work themselves out on the canvas as consistently as nature produces her own creations, as minerals or crystals take shape, as moss and algae grow, as the flower unfolds to bloom in the rays of the sun'. The assumption that colour possesses an intrinsic energy was of extraordinary importance for the whole period that followed. Colour was also to afford the appropriate medium for evoking other domains still further removed from the visible." (W. Haftmann, Emil Nolde, New York, p. 20-21)
Nolde painted a number of flower and garden paintings in 1906 and 1907, many of them done in the gardens of neighbours like Borchardt or Anna Wied. In a letter from Nolde to Rudolf Hoffmann, dated Hamburg, 27.12.46, the Artist writes 'The two figures are my wife and the one farther back Frau Borchardt in their flower-garden.' Nolde would paint Ada standing or seated, surrounded by a carpet of blazing colours, her figure often indicated by the briefest of brush-strokes. In this piece she stands with her back to the viewer, the deep pink of her dress matching the resonance of the flowers that illuminating the foreground. Here, the vibrant pink and purple blooms are surrounded by varying shades of green and cooler tones of blue, echoed in the dress of the older woman and the edge of the pathway. Nolde applies each pigment with loose, expressive brushstrokes: the rough, painterly surface heightening the contrast between vivid colour accents and light and shade. The same effects and the same riotous display of colours are found in other garden scenes of the time: Anna Wied's Garten (Urban 223), Trollhois Garten (Urban 224), now in the Nolde-Stiftung, Seebll, and Blumengarten, Frau im Weissen Kleid, en face (Urban 272) in the Karl-Ernst-Osthaus-Museum, The Hague.