Emil Nolde (1867-1956)
EXPRESSIONISM
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Originated in Germany at the beginning of the
20th century
Presented the world from subjective
perspective, through use of distortion and
exaggeration to evoke moods or ideas
Expressionist artists also used vivid, dynamic
and violent application of formal elements in
their styles
HISTORICAL CONTEXT
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Nolde was part (and one of the first) of the
German Expressionism movement, but he did
not like to be considered expressionist because
his art is free and authentic, therefore, cannot
be categorised
It encouraged an interest in graphic art such as
wood carvings in him
IMPORTANCE IN HISTORY
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In 1906, he was invited into a brotherhood called Die Brücke (The Bridge) for 2 years which was formed in
Dresden
Nolde’s slashing brushstrokes and raw colours were not pleasing to the public
Die Brücke exerted great influence on public taste at this time
INFLUENCES
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Die Brücke had intense admiration for Munch, van Gogh and Gauguin
Influenced by thick impasto and violent use of colour of van Gogh
Nolde was introduced to wood cut by members of Die Brücke and his wood carving pieces are inspired by Paul
Gauguin and Edvard Munch, who created bold images, expressing strong emotion
CHARACTERISTICS
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Religious themes
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Faces show personal contempt
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Slashing brushstrokes
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Telluric conception of nature
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Elaborate, excessively bright, raw
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Luminous quality to otherwise somber
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colours
tones with use of golden yellows and
Interest in primitive cultures & desire to
deep reds
relate to contemporary time
MASKS, 1911. Oil on canvas, 28’’ by 30''.
-Nolde used these faces to show personal contempt for immorality, greed,
avarice lust and hypocrisy as they appeared in his society’
-He focuses deeply on psychological unrest of the World War
-He was drawn to the art of distant cultures which he viewed primitive
-Vividness creates sense of aggression as hollow eyeholes glance at the
viewer maliciously
-Within this painting, slashing brushstrokes, thickly applied paint, garish
colours, and luminous quality with use of golden yellows and deep reds are
evident
THE PROPHET, 1912. Woodcut, 32.1 x 22.2 cm.
-While recovering from an illness, Nolde experienced a religious
transformation
-Three years later, he created this print
-Since his transformation, Nolde began using religious subjects in painting
and prints
-The hollow eyes, sunken cheeks, furrowed brow and sad expression depict
deep emotion and show the prophet’s spirituality
-He shows characteristics existing in the medium such as gouged–out areas,
jagged lines, and textured grain of wood within his composition to evoke
emotion and portray the prophet
THE ENTOMBMENT (THE BURIAL), 1915. Oil on canvas, 86 cm x 117 cm.
-Nolde devoted 55 paintings to religious themed art which were very
personal to him
-The painting depicts Jesus being laid in the tomb
-Vivid colours and two-dimensional application of paint
-Slashing brushstrokes and bright raw colours