Das Paar, Phantasien. Um 1931/1935.
Watercolor and India ink drawing.
Signed lower right. On Japon. 45,5 x 30,3 cm (17,9 x 11,9 in), the full sheet.

Accompanied by a copy of the photo expertise issued by Prof. Dr. Martin Urban, Foundation Ada and Emil Nolde Seebüll, dated 7 October, 1993, which has been confirmed by Prof. Dr. Manfred Reuther, the foundation's director, on 4 April, 2013 bestätigt wurde.

PROVENANCE: Private collection, Ulm (around 1935).
Private collection, Florida.
Galerie Thomas, Munich.
Private collection, USA (since 2006).

Emil Hansen was born near the German-Danish border on 7 August 1867. He adopted the name of his birth town as his artist name at a later date. Nolde completed an apprenticeship as a furniture designer and wood carver in Flensburg between 1884 and 1888 and then worked for various furniture factories in Munich, Karlsruhe and Berlin. He was employed as a teacher of industrial drawing at the Gewerbemuseum (Industrial Museum) in St. Gallen in 1892, where he taught until 1898. There, where at first mainly landscape watercolors and drawings of mountain farmers emerged, Nolde became known through small colored drawings of Swiss mountains. Nolde finally moved to Munich after deciding to become a painter, but the academy under Franz von Stuck dismissed him. He joined Adolf Hölzel in Dachau in 1899 to become his pupil and went to Paris in 1900 to increase his knowledge at the Académie Julien. Nolde studied the Neo-Impressionists Vincent van Gogh, Edvard Munch and James Ensor, which, around 1905, gradually led him away from his early Romantic Naturalism and to the discovery of his own style with a strong emphasis on color, colorful and glowing flower pictures came into existence. During a sojourn in Alsen in 1906 Nolde met the painters of 'Die Brücke', a group he joined briefly in the same year. A series of portrait studies marked the artists discovery of the watercolor. Nolde's first attempts in 1909 at painting in this technique on non-absorbent paper, leaving large areas of the paper uncovered and dispensing with contours, were quite revolutionary. After a dispute with Max Liebermann, Nolde was excluded from the 'Berliner Sezession' and founded together with other dismissed artists the 'Neue Sezession' in 1910 and participated in their exhibition until 1912. Less fascinated by the city-life of Berlin, which he recorded in expressionistic pictures, than by primitivism, Nolde painted still lives with exotic figures and mask pictures. He returned from an expedition to New Guinea in 1913 with lots of study material, which he worked up in numerous works until 1915. Since 1916, he spent his summers on the island Föhr and settled in Seebüll in 1928. The garden in Seebüll became an unfailing source of inspiration for his painting, but also coast areas and religious became his primary sujets.

The delicate Japon papers that Emil Nolde chose for his watercolors allowed him to reach a moist saturation of the colors on the paper that is responsible for the intensity. With their remarkable density they largely determined Noldes watercolor art. A subtle line structure adds definition to our sheet. The double portrait reoccurs in his oeuvre of paintings, as far as composition is concerned he preferred to place the portraits side by side. As they fill the entire sheet, the two portraits are constrained to a strong expression that reaches the observer emotionally with its stringent immediacy. The emphasis that Nolde brings up for the creation of his works lives on in them and becomes a profound part of the artistic expression.

Defamed during the war and banned from exhibiting his works since 1941, Nolde spent the years 1939 to 1945 in Seebüll painting his 'unpainted paintings', more than 1000 small watercolors, which he took on in his oil paintings after 1945. In his last years, primarily watercolors with flower and landscape motifs from the neighbourhood of his house in Seebüll, where Nolde died on 13 April 1956, came into existence. [KD].