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Lot Essay
In 1906 Nolde was asked to join the Brücke movement with whom he exhibited in 1906 and 1907. Whilst much older than the other Chemnitz band protagonists of the movement Nolde shared with the young Kirchner, Schmidt-Rottluff and Heckel a love of brush work, colour and paint surface.
In 1910, defending his position as an avant-gardist he resigned from the Berlin Secession and wrote a scathing letter to Max Liebermann, the existing president, accusing him of conservatism and an unwillingness to accept the modern trends being championed in avant-garde circles elsewhere in Europe. In retrospect we appreciate that he was right to follow the youthful avant-garde, but at the time it was an extremely brave decision to take.
By 1910, Nolde was immersed in the 'fury' of painting and the oils of these early expressionist years, particularly the landscapes, are painted with extraordinary painterly freedom. It was in 1910 that he began his celebrated Herbstmeer series which totalled nineteen dramatic seascape oils by the time the cycle was complete in late 1911 (see Fig. 1).
Accompanying these were a small number of closely related, but partially figurative seascapes, including the present work Einschiffung of 1911. In Nolde's Handlist he actually titles the work Holzeinschiffen III, in so doing relating it to two other works of the same title executed in 1911. One of these was exhibited with several of the Herbstmeer pictures in Kiel in 1912 (Fig. 2) and the other was originally housed in the Nolde-Stiftung in Seebüll. The present picture was originally purchased by the Danish collector Bonde Bonnichsen and remained in his collection until the 1950s. The picture was purchased through the agency of the Galerie Grosshennig by Wilhelm Reinold some 40 years ago.
In 1910, defending his position as an avant-gardist he resigned from the Berlin Secession and wrote a scathing letter to Max Liebermann, the existing president, accusing him of conservatism and an unwillingness to accept the modern trends being championed in avant-garde circles elsewhere in Europe. In retrospect we appreciate that he was right to follow the youthful avant-garde, but at the time it was an extremely brave decision to take.
By 1910, Nolde was immersed in the 'fury' of painting and the oils of these early expressionist years, particularly the landscapes, are painted with extraordinary painterly freedom. It was in 1910 that he began his celebrated Herbstmeer series which totalled nineteen dramatic seascape oils by the time the cycle was complete in late 1911 (see Fig. 1).
Accompanying these were a small number of closely related, but partially figurative seascapes, including the present work Einschiffung of 1911. In Nolde's Handlist he actually titles the work Holzeinschiffen III, in so doing relating it to two other works of the same title executed in 1911. One of these was exhibited with several of the Herbstmeer pictures in Kiel in 1912 (Fig. 2) and the other was originally housed in the Nolde-Stiftung in Seebüll. The present picture was originally purchased by the Danish collector Bonde Bonnichsen and remained in his collection until the 1950s. The picture was purchased through the agency of the Galerie Grosshennig by Wilhelm Reinold some 40 years ago.