Emil Nolde (1867-1956); Tänzerin;
Lot 106
Emil Nolde
(1867-1956)
Tänzerin
Sold for US$ 278,500 inc. premium
Auction Details
Lot Details
Emil Nolde (1867-1956)
Tänzerin (Schiefler/Mosel L56), 1913
Lithograph in colors on Japan paper, signed in pencil, a rare 6 color proof printed in ochre, black, grey-violet, violet, grey and dark red (aside from the numbered edition of 35), printed at the Westphalen lithography workshop, Flensburg, with margins.
20 3/4 x 26 3/4in
sheet 21 7/8 x 27in

Footnotes

  • Emil Nolde was the prototype of the North German Expressionist: more independent than the others, he lived apart, in self-imposed solitude. He noted: 'How glad I am to be almost alone as an artist among artists, with the whole swarm of artists somewhere else.' As an independent personality, he left Brücke after only one year. However, what he shared with the other Expressionists was the celebration of instinctual, unfettered emotion, erotic energy and spiritual freedom. Tänzerin (Dancer), with her legs splayed, her arms fluttering, her skirt and black hair swinging to the movement is the 'primitive' and phantasmagorical image of an ecstatic dancer. This image, in a primeval setting, may well have been inspired by the modern experimental dances of Loïe Fuller, Mary Wigman and her protégé Palucca, and the Australian dancer Saharet - all of whom Nolde was well acquainted.

    Early in his career, Nolde produced etchings and lithographs, but his interest in lithography was revived in 1911, when he learned to make drawings directly on the stone. In 1913 he spent eight weeks at the Westphalen lithography workshop in Flensburg, where he was introduced to color lithography. Excited by the possibility of adding the rich colors of his paintings to his graphics, Nolde not only made new color prints but also revisited earlier black and white lithographs and reprinted them in color. More than other Brücke artist, Nolde was fascinated with the technical possibilities of the medium in which he worked. Tänzerin was the last of the 13 lithographs he produced at the workshop, and his favorite. He said it expressed his 'passion and joy.' (Victor Carlson, Emile Nolde: The Painter's Prints, Museum of Fine Arts, Boston (exh. cat.), 1995, p. 242.

    This important lithograph went through a number of different stages and was printed in as many as six colors. The present impression is a proof, aside from the edition of 35, and was printed in ochre, black, grey-violet, violet, grey, and dark red. All impressions are extremely rare as the working proofs in Nolde's studio were destroyed by bombs in 1944.

    Tänzerin is undoubtedly one of Nolde's greatest achievements as a printmaker, and a masterpiece of German Expressionism.
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