Frases de Emil Nolde

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Emil Nolde

Data de nascimento: 7. Agosto 1867
Data de falecimento: 13. Abril 1956

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Emil Nolde , de seu verdadeiro nome Emil Hansen, foi um dos mais importantes pintores expressionistas alemães.

Os seus quadros, tal como pretendia, chocavam o espectador, devido à vivacidade das cores, que contrastavam abusivamente umas com as outras, à deformação dos rostos das personagens retratadas, à distorção das perspectivas e ao excessivo uso de tinta.

A sua viagem à Nova Guiné, entre 1913 e 1914 fez com todos este aspectos se avivassem ainda mais nas suas obras.

Sempre influenciado por pintores como Vincent van Gogh, Edvard Munch ou mesmo James Ensor, durante todo o seu percurso artístico pouco mudou de estilo.

Em 1941, os nazis, que imperavam na Alemanha, proibiram Nolde de pintar, pois consideravam que a sua pintura era mundana e imoral, podendo incitar certas revoltas. Anos mais tarde, depois com fim da Segunda Guerra Mundial e com a queda dos nazis, Emil Nolde voltou a pintar, tendo realizado um número incontável de aquarelas e pequenos óleos.

Citações Emil Nolde

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„How glad I am to be almost alone as an artist among artists, with the whole swarm of artists somewhere else.“

—  Emil Nolde
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

„It [the city Berlin] stinks of perfume, they have water on their brains and they live as food for bacilli and shamelessly like dogs.“

—  Emil Nolde
in a letter to Nolde's friend, 1902; 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. 36

„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.“

—  Emil Nolde
in two letters, to , 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

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„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.“

—  Emil Nolde
Quote of Nolde's letter to , 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

„They [his own fantasies he made in strange pencil drawings then] hover before me now in drifting color, more beautiful than I can possibly paint them.... I yearn for the day when I will have found my color harmonies, my harmonies.“

—  Emil Nolde
Quote of Nolde's letter, 1902, to ; as cited 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. 35 During the next few years, Nolde virtually commuted between Copenhagen and Berlin; in the fishing village of Lildstand on Jutland's northern coast, he produced strange pencil drawings, as he wrote to Fehr

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„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.“

—  Emil Nolde
in a letter to his friend , 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

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