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拍品专文
This work is sold with a photo-certificate from Dr Martin Urban from the Nolde-Stiftung in Seebüll.
Tänzerin is a vibrant and fantastical image that perfectly embodies Emile Nolde's experience of the dance, a subject that fascinated him throughout his career. Nolde's images of dancers bear little in common with the rigid dance routines of fancy ballrooms, but instead share an affinity with the uninhibited gestures explored by the Expressionistic Dance movement - introduced to Germany by Isadora Duncan and the Jugendstil in the early 20th Century. Nolde regularly reserved a seat for his painting materials at the performances of his close friend and leading dance exponent Mary Wigman to record the wild and whirling movements of this new theatre (fig. 1). His subsequent images of dancers, including celebrated oil paintings such as Kerzentanzerinen (candle dancers) of 1912 and Tanzende Mädchen of 1925, fully convey the emotional intensity of sensual experience (fig. 2). For Nolde, 'the solo dance, the art dance,' as he defined it, was a physical articulation of the soul and an embodiment of Nietzsche's call for the dissolution of boundaries between human reason and primal impulse. Nolde sought to echo the expressive freedom he witnessed on the stage in his own art with vivid colours and spontaneous, fluid lines. The flowing robes of the female figure in Tänzerin recall the artist's impressions of the renowned French dancer Loïe Fuller, 'in her shimmering serpentine dances, in green and silver, with her wide costume hanging in folds in phosphorescent colours' (in Emil Nolde, Exh. Cat., The Whitechapel Art Gallery, London, Dec. 1995-Feb. 1996, p. 31). Tänzerin equates the undulating movements of the dancer to the flickering form of fire in its contrasts of burning violet, orange and yellow, creating a radiant manifestation of Nolde's yearning for an elemental state of being and a Dionysian celebration of nature in life.
(fig. 1) Mary Wigman, 1920, Leonard Hutton Gallery, New York.
(fig. 2) Emil Nolde, Tanzende Mädchen, 1925, Private collection.
Tänzerin is a vibrant and fantastical image that perfectly embodies Emile Nolde's experience of the dance, a subject that fascinated him throughout his career. Nolde's images of dancers bear little in common with the rigid dance routines of fancy ballrooms, but instead share an affinity with the uninhibited gestures explored by the Expressionistic Dance movement - introduced to Germany by Isadora Duncan and the Jugendstil in the early 20th Century. Nolde regularly reserved a seat for his painting materials at the performances of his close friend and leading dance exponent Mary Wigman to record the wild and whirling movements of this new theatre (fig. 1). His subsequent images of dancers, including celebrated oil paintings such as Kerzentanzerinen (candle dancers) of 1912 and Tanzende Mädchen of 1925, fully convey the emotional intensity of sensual experience (fig. 2). For Nolde, 'the solo dance, the art dance,' as he defined it, was a physical articulation of the soul and an embodiment of Nietzsche's call for the dissolution of boundaries between human reason and primal impulse. Nolde sought to echo the expressive freedom he witnessed on the stage in his own art with vivid colours and spontaneous, fluid lines. The flowing robes of the female figure in Tänzerin recall the artist's impressions of the renowned French dancer Loïe Fuller, 'in her shimmering serpentine dances, in green and silver, with her wide costume hanging in folds in phosphorescent colours' (in Emil Nolde, Exh. Cat., The Whitechapel Art Gallery, London, Dec. 1995-Feb. 1996, p. 31). Tänzerin equates the undulating movements of the dancer to the flickering form of fire in its contrasts of burning violet, orange and yellow, creating a radiant manifestation of Nolde's yearning for an elemental state of being and a Dionysian celebration of nature in life.
(fig. 1) Mary Wigman, 1920, Leonard Hutton Gallery, New York.
(fig. 2) Emil Nolde, Tanzende Mädchen, 1925, Private collection.