„Träume können Empfindungen, Szenen und Bilder so eindringlich und schön gestalten wie der wache Künstler es nicht kann.“
28.12.1940
Ungemalte Bilder. Aquarelle und 'Worte am Rande'. Herausgeber Werner Haftmann. Köln M. DuMont Schauberg, 1963. S. 10
Zitate von Emil Nolde
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Emil Nolde
Geburtstag: 7. August 1867
Todesdatum: 13. April 1956
Emil Nolde war einer der führenden Maler des Expressionismus. Er ist einer der großen Aquarellisten in der Kunst des 20. Jahrhunderts. Nolde ist bekannt für seine ausdrucksstarke Farbwahl.
Zitate Emil Nolde
„Das was man malt, ist dem Maler, wie das Instrument, auf dem der Musiker seine Töne streicht.“
29.8.1940
Ungemalte Bilder. Aquarelle und 'Worte am Rande'. Herausgeber Werner Haftmann. Köln M. DuMont Schauberg, 1963. S. 10
„Every true artist creates new values, new beauty... When you notice anarchy, recklessness, or licentiousness in works of contemporary art, when you notice crass coarseness and brutality, then occupy yourself long and painstakingly precisely with these works, and you will suddenly recognize how the seeming recklessness transforms itself into freedom, the coarseness into high refinements. Harmless pictures are seldom worth anything.“
Quote of Nolde's letter to Hans Fehr, 1905; published in 'Aus Leben und Werkstatt Emil Noldes', 'Das Kunstblatt' no. 7 (1919), p. 208; as cited in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 40
Hans Fehr expressed in a letter to Nolde his concern about the 'recklessness' and 'licentiousness' of some prints by Nolde. Fehr published Nolde's response in 1919
1900 - 1920
„In the working of wood and for the determining of its character I had had enough experience in my five-year pursuit of woodcutting. I also always gladly let the various charming grainings and sometimes the knots become involved in the printing.“
in Nolde's letter, c. 1910; in Alois J. Schardt, 'Nolde als Graphiker', Das Kunstblatt 11, no. 8., 1927, p. 289; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 52
1900 - 1920
„None of the free [ a. o. his first religious] imaginative pictures that I painted at this time [c.1909] or later, had any kind of model, or even a clearly conceived idea. It was quite easy for me to imagine a work right down to its smallest details, and in fact my preconceptions were usually far more beautiful than the painted outcome: I became the copyist of the idea. Therefore I liked to avoid thinking about a picture beforehand, all I needed was a vague idea of luminescences of colour. The work then developed of its own accord under my hands.“
Nolde's quote c. 1909; as cited by de:Wolf-Dieter Dube, in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 81
1900 - 1920
„I want so much for my work to grow forth out of the material, just as in nature the plants grow forth out of the earth, which corresponds to their character. In the print 'Lebensfreude' [Joy of living] I worked for the most part with my finger, and the effect I hoped for was achieved. There is hidden in the print a bit of wantonness, in the representation as well as in the boldness of the technique. If I were to make the "ragged and moving" contours "correctly" in the academic sense, this effect would not nearly be achieved.“
in a letter to his friend Gustav Schiefler, 1906, in 'Gustav Schiefler and Christel Mosel', Emil Nolde: Das graphische Werk, vol. 2.; M. DuMont Schauberg, Cologne, 1966-67, p. 8; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p.50
Nolde described how the exhilarating new sense of collaboration with the medium had freed him from the constraints of traditional etching techniques and encouraged a bolder, freer expression
1900 - 1920
„How glad I am to be almost alone as an artist among artists, with the whole swarm of artists somewhere else.“
note of 13 March 1947; as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 32
1921 - 1956
„You speak of errors... Men who are so correct and flawless are mostly boring; small weaknesses can be loved... One chief characteristic of the etchings gives me much pleasure: because out of them streams forth a tremendous life.“
in two letters, to Hans Fehr, 23 October and 22 November, 1905; as quoted by Hans Fehr, in: 'Aus Leben und Werkstatt', 'Das Kunstblatt' no. 7 (1919), pp. 205-6; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 5
Nolde described in 1905 the role his experiments played in etching - in generating a subjective imagery and unorthodox surfaces that unlocked his own inner world
1900 - 1920
„Nobody had made the same full use of the properties of acids and metal in this way before. Having drown on the copper-plate and left areas of it bare, I laid it in the bath of acid and achieved effects that astonished even me, full of subtle nuances.“
quote c. 1906-07; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 78
Nolde is explaining his technique of surface-etching to the other Brücke-artists
1900 - 1920
„A new day. Calm as seldom the beginning of such a one. Did I dream? No! Dream and contented pure was the night... It is the sure certainty of having found unity with nature, this calm causes one of the strongest experiences.
Man, air, trees, world are laid bare and are one!
Contented sleep releases the limbs. We await full moon. Await the dance!“
c. 1918; in Aus dem Palau-Tagebuch, 'Das Kunstblatt 2', no. 6, p. 179; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 43
1900 - 1920
„There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones.... and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed.“
Nolde's written note in 1942; as quoted in Nolde: Forbidden Pictures [exhibition catalog], Marlsborough Fine Art Ltd., London, 1970, p. 9
1921 - 1956
