Description: "Summer Guests, 1911" Source: Emil Nolde, published in 1957 Description Title: "Nolde executed this painting in the garden of his Alsen house in the summer of 1911. This was a happy creative period, of which Nolde made full use, working to the point of exhaustion. One day he had visitors, including 'a singer weary of the city, with a brownish complexion, lavender socks, and a white coat' (Years of Struggles, p. 184). Nolde did not like him, but after his visitors left, he painted two versions of this group in the garden, from a drawing on canvas. He also made a separate sketch of the man in the white coat. The woman seen next to him is Ada Nolde, and next to her is Mrs. Sauerlandt. The painting belonged originally to Max Sauerlandt, who describes it at length in his book Die Kunst der letzten dreißig Jahre (2nd edition, pp. 66 ff.): 'It seems to me that the painting Summer Guests must be assigned a prominent place in the development of Nolde's treatment of color. Here his pictorial style stands between the early pictures of gardens, the sea, and the marshes, and religious paintings executed a little later in rich form-defining colors. The pigment has the effect of a wash, and endows the flesh with extraordinary reality despite the 'unreality' of the color: it is as though Nolde's treatment of oil had been influenced by his watercolors of the same period. 'The linear composition is tightly knit and the colors form a well balanced pattern. Their brilliance endows the seated and reclining figures with a fantastic quality. denounce as unnatural and arbitrary. 'It is precisely the colors, however, that the critics Nolde's paintings actually mirror images of nature, despite everything? They certainly are, but in a sense than the generally accepted women shown in Summer Guests said, 'Believe me, it I was just like that, that's exactly how it looked.' She I could say this only because she had given herself wholly to the mood of that hot summer day, because she had re-experienced the artist's creative act. Looked at soberly, and particularly when compared with the realism of plein-airist painting, the colors of this work will certainly seem 'unreal,' indeed, impossible, for they transcend the possibilities of nature, achieving a reality inherent only in art... 'A green lawn with an intensely blue fence, through which we see glowing yellows and reds at the right corner, serves as the background for the four figures. The hair of the woman at the center is of an intense red, which is echoed by bright reds in the dress of the woman on her left. The latter's hair is of a warm golden orange. The same orange serves as the basic flesh tone of the two women; the outline of the olive- colored girl's arms at the left, the man's shoes, and the signature at the lower right are also in orange tones. Violet tones are found in the hair and sash of the girl at the left, and in the socks and complexion of the man at the right. The green of the ground, the whites and blues of the man's cap and coat, the bright blues in the dress of the woman next to him, the sea-green tone with white reflections in the girl's dress introduce a refreshing coolness among the glowing, predominantly warm colors.' This is an outdoor painting, but it is greatly different in treatment from the works of the French plein- airists. Here color is independent of atmosphere, light, air perspective, and modeling, being applied in large, unified, sharply outlined flat planes. Although still uncertain in intention, and surprisingly similar to paintings by the Brücke artists of the same period, this work anticipates the next stage in the development of Nolde's style, when the picture surface, organized rhythmically and ornament-ally, serves as a dramatic stage for the artist's inner imagery." Unique and distinctive. Suitable for framing. *All prints are book plates / pages that are professionally removed from an original published book or other type of publication. May have text and or illustrations on reverse side. Specifications:Stored in a dry, clean environment100% authentic - no photocopy or reproduction Approximate overall Dimensions: 12.75 x 9.5 inchesCondition: Very Good and well preserved. Light age toning and or occasional minor defects from how it was handled before it came to us may be present. Shipping & Handling + Payments & Returns: Free shipping We ship worldwideFast, 1 Day ShipmentAll items are protected inside a clear, acid-free resealable sleeve, shipped flat between two foam backing boards and marked Do Not Bend. All forms of payment accepted100% Guarantee - 60 day returnsPurchase with Confidence THANK YOU for visiting. Feel free to ask any questions and we will respond quickly. We take seriously providing quality customer service! 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Price: 24.88 USD
Location: Carmel Valley, California
End Time: 2024-07-26T15:39:52.000Z
Shipping Cost: N/A USD
Product Images
Item Specifics
Restocking Fee: No
Return shipping will be paid by: Seller
All returns accepted: Returns Accepted
Item must be returned within: 60 Days
Refund will be given as: Money Back
Unit of Sale: Single Piece
Artist: Emil Nolde
Type: Print
Year of Production: 1957
Image Orientation: Portrait
Signed: No
Theme: Art, Cities & Towns, Community Life
Material: Paper
Original/Licensed Reprint: Licensed Reprint
Framing: Unframed
Subject: Gardens, Greetings, Ladies, People
Time Period Produced: 1950-1959