An artist from a peasant background. Nazi and Nazi victim

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In the booth into which Pierre entered and in which he stayed for four weeks, there were twenty-three captured soldiers, three officers and two officials.
All of them then appeared to Pierre as if in a fog, but Platon Karataev remained forever in Pierre’s soul as the strongest and dearest memory and personification of everything Russian, kind and round. When the next day, at dawn, Pierre saw his neighbor, the first impression of something round was completely confirmed: the whole figure of Plato in his French overcoat belted with a rope, in a cap and bast shoes, was round, his head was completely round, his back, chest, shoulders, even the hands that he carried, as if always about to hug something, were round; a pleasant smile and large brown gentle eyes were round.
Platon Karataev must have been over fifty years old, judging by his stories about the campaigns in which he participated as a long-time soldier. He himself did not know and could not determine in any way how old he was; but his teeth, bright white and strong, which kept rolling out in their two semicircles when he laughed (which he often did), were all good and intact; no one gray hair was not in his beard and hair, and his whole body had the appearance of flexibility and especially hardness and endurance.
His face, despite the small round wrinkles, had an expression of innocence and youth; his voice was pleasant and melodious. But main feature his speech consisted of spontaneity and argument. He apparently never thought about what he said and what he would say; and because of this, the speed and fidelity of his intonations had a special irresistible persuasiveness.
His physical strength and agility were such during the first time of captivity that it seemed that he did not understand what fatigue and illness were. Every day, in the morning and in the evening, when he lay down, he said: “Lord, lay it down like a pebble, lift it up into a ball”; in the morning, getting up, always shrugging his shoulders in the same way, he said: “I lay down and curled up, got up and shook myself.” And indeed, as soon as he lay down, he immediately fell asleep like a stone, and as soon as he shook himself, in order to immediately, without a second of delay, take up some task, like children, getting up, taking up their toys. He knew how to do everything, not very well, but not badly either. He baked, steamed, sewed, planed, and made boots. He was always busy and only at night allowed himself conversations, which he loved, and songs. He sang songs, not as songwriters sing, who know that they are being listened to, but he sang like birds sing, obviously because he needed to make these sounds just as it is necessary to stretch or disperse; and these sounds were always subtle, gentle, almost feminine, mournful, and at the same time his face was very serious.
Having been captured and grown a beard, he apparently threw away everything alien and soldierly that had been imposed on him and involuntarily returned to his former, peasant, folk mindset.
“A soldier on leave is a shirt made from trousers,” he used to say. He was reluctant to talk about his time as a soldier, although he did not complain, and often repeated that throughout his service he was never beaten. When he spoke, he mainly spoke from his old and, apparently, dear memories of “Christian”, as he pronounced it, peasant life. The sayings that filled his speech were not those, mostly indecent and glib sayings that soldiers say, but they were those folk sayings that seem so insignificant, taken in isolation, and which suddenly take on the meaning of deep wisdom when they are spoken opportunely.
Often he said the exact opposite of what he had said before, but both were true. He loved to talk and spoke well, decorating his speech with endearments and proverbs, which, it seemed to Pierre, he himself was inventing; but the main charm of his stories was that in his speech the simplest events, sometimes the very ones that Pierre saw without noticing them, took on the character of solemn beauty. He loved to listen to fairy tales that one soldier told in the evenings (all the same ones), but most of all he loved to listen to stories about real life. He smiled joyfully as he listened to such stories, inserting words and making questions that tended to clarify for himself the beauty of what was being told to him. Karataev had no attachments, friendship, love, as Pierre understood them; but he loved and lived lovingly with everything that life brought him to, and especially with a person - not with some famous person, but with those people who were before his eyes. He loved his mongrel, he loved his comrades, the French, he loved Pierre, who was his neighbor; but Pierre felt that Karataev, despite all his affectionate tenderness towards him (with which he involuntarily paid tribute to Pierre’s spiritual life), would not for a minute be upset by separation from him. And Pierre began to feel the same feeling towards Karataev.
Platon Karataev was for all the other prisoners the most ordinary soldier; his name was Falcon or Platosha, they mocked him good-naturedly and sent him for parcels. But for Pierre, as he appeared on the first night, an incomprehensible, round and eternal personification of the spirit of simplicity and truth, that is how he remained forever.
Platon Karataev knew nothing by heart except his prayer. When he gave his speeches, he, starting them, seemed not to know how he would end them.

“I really want the colors in my paintings to flow spontaneously through me, the artist, as if nature itself creates its paintings, just as crystals and ore form themselves, as algae and mosses grow, as flowers bloom under the rays of the sun.” Emil Nolde

Strictly speaking – and, in general, any way you want to put it – he was Hansen. Nolde (1867-1956) is a pseudonym. In honor of a German village on the border with Denmark. He was born there into a peasant family. And there were five brothers. But only one of the Hansens Jr. thought of painting a barn, chicken coop, barn and other sheds with colored chalk - he was so drawn to beauty. And he didn’t draw some nasty stuff like Spider-Man, but biblical stories. The family was strongly Protestant. The paintings have not survived.
At seventeen Nolde left home to join the people. There he wandered around different German cities, worked as a carver at a furniture factory, studied design for a short time - there was not enough money for a long time, designed furniture, taught drawing, etc. I went to museums everywhere. In 1893, he successfully drew a series of such stupid postcards.

La Cima della Pala et la Vezzana

The postcards sold in large quantities, which brought Nolde a lot of money. He immediately stopped working and began to study painting. First in Munich, then in Paris, at the famous Julian Academy. There he fell in love with the impressionists, Van, of course, Gogh and his friend Gauguin. And he loved Millet, Daumier, Goya, Titian, Rembrandt and Böcklin even before that. After some time, Nolde began to love medieval/Renaissance German painting and Munch. Well, later some other little things were added, but, in principle, all of the above are the main traditions from which his art grew.

Nolde did his first works with a strong love for the symbolists and late romantics like Böcklin.

Let there be light

Two on the seashore

This was at the very beginning of the twentieth century. In Germany, away from him, powerful artistic processes which led to the birth of expressionism. In 1905 the group "Most" appeared. Having taken a closer look at Nolde, the Mostovskys invited him to the group. Nolde agreed. At Most he worked like this.

Flower garden

White trunks

In general, it is clear that these pictures are closer to French Fauvism than to native expressionism. And there are even very vague echoes, no matter how creepy it sounds, of impressionism*. Nolde was overtaken by his previously acquired love for French painting.

It’s a strange situation, you’ll agree. The man is a member of the most expressive association, and will later be declared a classic of expressionism**, and paints pictures that are inappropriate. But, on the other hand, who told you that in art there are straight paths? It's not arithmetic.

But this did not last long. A year later, Nolde left “The Bridge” and began to make real painting, according to all the rules of expressionism.

Mockery of Christ

Last Supper

Crucifixion

Everything is correct here. And the reliance on the German Middle Ages/Renaissance, and the grotesque, and the sense of the tragedy of life conveyed through accessible means, and the harsh substantial as the antithesis of the fidgety accidental - everything is there. And his Christ is the peasant Christ, i.e. a guy from the bottom, in the spirit of Grunewald.

Nolde’s genre preferences, of course, were not limited solely to a return to his childhood religious visual tradition. He also wrote, let’s say, genre.

Spectators in a cabaret

In such pictures, Nolde recorded with pleasure the peasant’s dislike for the city. He also painted landscapes - always, practically, without people***.

Autumn Sea VII

Autumn Sea XI

These pictures are part of a series of 21 works describing almost the same species. Here again the French are hanging out somewhere nearby. Late Monet, in particular, who made series of landscapes from the same point at different times of the day, such as “Haystacks” or “Reims Cathedral”. True, Nolde had a different task - he was not interested in recording in dozens of works how an object changes, roughly speaking, on the same day depending on the lighting, he was interested in the different states of this object: storm, calm, season, large daily divisions such as sunset, noon, etc. Those. more fundamental things.

Even at this time, Nolde was making longitudinal wood engravings, traditional for expressionism, originally from the Middle Ages.

Prophet

First World War was not directly reflected in Nolde’s work. He was not at the front due to his age; artistic journalism, let’s say, like that which Dix or Gross were engaged in within the framework of expressionism, was not interesting to him. He was interested, again, in more fundamental things. Some response to war can, of course, be found in the heightened ecstasy of things like this.

Red evening sky

Or in such sad symbolism, 1919.

Lost heaven

Another thing is that the war, defeat in it, and the humiliating Treaty of Versailles plunged Nolde into a crisis of national self-identification. Everything was difficult here from the very beginning. Dad's native language was East Frisian. Mom is a South Utahn. Nolde considered German to be his native language and, in general, considered himself according to this affiliation. In 1920 he home village with the remains of chalk paintings on the barns passed to Denmark, he himself became a Danish subject - I don’t know why this happened with citizenship, I didn’t understand. The fact is that for Nolde all this was mentally unbearable. In 1927, his dreams come true - he buys a rural house. But not on my beloved small homeland, and in Seebühl - not far from Nolde, but on German territory. At this time, he was in the dark - in the elections in 1928, he was torn between the communists and the Nazis ****. And at the very beginning of the 1930s. Nolde saw such a scene in one of the Munich galleries - an SS man spoke about the works of expressionist Franz Marc, calling the owner of the gallery: “What kind of painting is this here? Why are you posting this trash? Remove immediately. We no longer intend to tolerate such exhibitions. Exhibit truly German art, otherwise your gallery will be closed*****.” Nolde then turned to his friend and said: “Now I know my future.”

However, in the end, he makes a choice and joins the NSDAP.

What brought him there? Well, of course, no one spoke as much as the Nazis about that very national self-identification. By enrolling with them, Nolde seemed to become a real German. Of course, he was bought by the beauty of the myth of blood and soil - he is a ninth-generation peasant, an artist hungry for national tradition. Let’s not say that this tradition could be followed in a way directly opposite to the Nazi version, as, say, Barlach did, we’ll just accept it as an explanation. Nolde at this time went so far as to talk about priority German art before French - this is despite how much he took from there. Okay, to hell with Nolde. What can you take from him - an artist.

Trouble came from an unexpected direction for Nolde - the regime did not accept him. Those. At first, there were problems within Nazism in the sense of accepting expressionism as truly German art in that part of it where expressionism appeals to the people, the Middle Ages, etc., even Goebbels himself expressed his sympathies for it******. It all ended in 1937, when Hitler, in his speech at the opening of the House of German Art in Munich, called expressionism, along with all other avant-garde movements, “degenerate art.” And, personally about Nold: “This is unthinkable!” Nolde tried to somehow resist reality. He even wrote denunciations against former comrades in the sense that they were Jews. Nothing helped.

And Nolde becomes the record holder for the number of repressions that fell on him. Well, of course, he is expelled from his post as a member of the Prussian Academy of Arts, just like others like him. But at the exhibition “Degenerate Art” his work occupies one of the central places.

Life of Christ

But he has a fantastic number of works confiscated from various collections - more than 1,100. Some of them were burned, some, oddly enough, were returned to him at Nolde’s suit, and some were sold. And, the most unusual thing - I, in any case, don’t know of another similar story - he was forbidden to engage in his profession. Since 1941, the implementation of this ban was controlled by the Gestapo.

By that time Nolde had been living in Seebühl almost continuously for many years. After the ban on his profession, he switched to small-format watercolors. Absolutely fantastic in quality. Subtle, but nevertheless expressionistic.

Multi-colored sky over the swamp

He was in no condition not to paint***** - he was made of pearl. But he could not paint in oils - oil paints they smell too characteristically, anyone who has ever been in the studio of a normal artist, not some kind of gesturing conceptualist, in the sense, can remember this. He later called these works unpainted paintings.

Anemones 37

The war is over. Humanity forgot about Nolde’s National Socialist movements; it perceived him as a victim. In 1950 he received the Venice Biennale Prize. In 1953, the German government awarded him the medal “For Merit in the Field of Science and Arts.” The devil knows. We do not take into account the political views of, say, Leonardo da Vinci. On the other hand, there were no totalitarian ideologies then. In short, I don’t know how to treat an awesome but ideologically hostile artist. His latest works are like this.

Evening sea and black steamer

The sun is hazy

Landscape in red light

Bonuses

Dance around the golden calf

Entombment

Papuan boys

Just before the First World War, Nolde traveled to New Guinea. I touched that archaism beloved by avant-garde.

St. Mary in Alexandria

tropical sun

Thunderclouds

Autumn evening

* Expressionism arose as a kind of negative reaction to impressionism. The first contrasted the elegance, elusiveness, fluidity, lack of formality, and objectivity of the second with subjectivity, immutability, essence, constancy and pathos.

** At the same time, Nolde could not stand being called that all his life. He was no longer a member of any associations. He was a very separate person.

*** A real landscape should be without people. After all, what shocks us most about nature? Our human lack of representation in it. It’s difficult to imagine that all this wealth – starting with Levitan’s “Autumn” and ending with exotic pictures on Facebook – can do without us.

****There was nothing monstrous in this choice. The proximity of the positions was realized even then. Hitler said that a liberal would never make a decent Nazi, but a communist would never make a decent one. At the beginning of the Nazi regime, a film was made, I don’t remember the name, and it’s too lazy to rummage through Golomstock’s monograph, in which the stubborn communist his mouth-front gesture - a fist clenched at the shoulder - smoothly translates into Nazi salute. There is nothing more banal than talking about the root relationship of these ideologies. We have easily observed this kinship in our homeland over the past decades.

*****German Cossacks?

******Their Goebbels is like our Lunacharsky. Both wrote secondary symbolist plays, both were sympathizers of avant-gardeism. But Goebbels turned out to be more cheerful - he cut through the general line earlier.
******* Once again, I remind you that this is professional jargon. In a civilized society, this word is replaced with euphemisms such as write, draw, create, create, paint (disparaged).

"Lone wolf" Emil Nolde (1867-1956) did not like being called an expressionist, and was sincerely glad that futurists and constructivists claimed this title. One of the best German artists, he did not want to share his art with others, reluctantly joined creative associations, was always dissatisfied with himself and considered painting the meaning of life.

His family guessed that a certain boy Hans Emil Hansen would become a great artist from the pictures he drew with chalk on the walls of outbuildings. The kid “created” them in his free time from work, and spent most of the day working for the benefit of his insolvent family. This closed the path to art for him for a long time. Only in adulthood did Emil Hansen take up painting again under a pseudonym, which became known throughout the world.

This happened in 1902, when the artist married actress Ada Vilstrup and moved to Berlin with her. Inspired by quiet joys family life, Emil worked a lot, which allowed him to declare himself as a talented artist.

A few years earlier, Nolde created postcards depicting Swiss mountains, which people really liked and sold in huge quantities. The money from their sale allowed Emil to become a professional art education. And, despite the fact that his studies can hardly be called systematic, the young man worked very hard and constantly expanded his range of interests.
The subjects of Nolde’s first works were dominated by biblical motifs and natural themes, which was quite natural for a person raised in a religious family and living in the picturesque north. The artist even took his pseudonym in honor of a small village, the harsh landscapes of which forever captivated his melancholic mind.

There is no place for decorativeness in Nolde’s nature, and its “wild” beauty is concentrated on the essence of the surrounding world. Even when rewriting the painting “Autumn Sea” for the twentieth time, the artist sought not so much to capture different states of the elements, but rather tried to convey a direct connection between the unchanging spirit of nature and his own soul.

Nolde represented the energy of the world in color, considering it the main expressive means. And the artist “borrowed” colors from nature, without which he could not imagine any of his landscapes. His contemporary Wilhelm Gausenstein once wrote about this passion of Emil:

“Nolde paints with hot colors that seem to have been broken straight out of the rough earth, taken from the depths of purple lakes, squeezed out of wolfberries.”

In color and plot decisions, Nolde was close to aesthetics creative group"Bridge". This association became one of the few whose program the artist accepted. He took part in all the Mostov exhibitions and personally helped in the development of the manifesto. Emil Nolde shared his art with the Most expressionists for a year and a half, after which he left the group, but did not lose contact with his former comrades.

At the same time, Nolde became less and less willing to attend public events, was a rare guest at exhibitions, and increasingly retreated into the four walls of his own home. Such drastic changes happened to the artist in 1909, at the same time a religious theme appeared in his work, and he painted a number of paintings on biblical subjects.

The heroes of the works “The Last Supper”, “Crucifixion” and “Entombment” are in close proximity to the viewer, which is why there is a strong conviction that ancient history happens right here and now.

From high and spiritual themes, Nolde took a bold step into the abyss of rudeness and phantasmagoria. This is what distinguished the paintings related to the theme “ big city", in which the artist depicted Hamburg of the lower classes, populated by Chinese sailors and couples having fun in a nearby restaurant. This world also attracted Emil, so in 1913 he traveled to New Guinea, having also visited Russia, Japan and China.

Nolde strengthened his position in artistic circles every day, he was recognized by society, and critics favored him. He, never interested in politics, was so obsessed with his work that he did not notice how it turned out to be connected with the idea of ​​​​the German national spirit. Since 1920, Emil Nolde, who considered himself a true German and did not resign himself to the fate of being a Danish subject, joined the National Socialist Party.

But the artist’s hopes for an alliance between the totalitarian regime and genuine art failed. Of course, at first the ruling circles of Germany accepted expressionism, and Nolde was popular. But very soon he noticed the negative changes taking place in his country, and was increasingly afraid of losing his “place in the sun.” He used any means to establish himself as a true German artist and confirm his loyalty to the regime. They even used denunciations against colleagues, pointing out their non-Aryan origin. So Nolde became the only major modernist who sided with Nazism.

But even such desperate changes did not save the artist. In 1937, modernism and its movements in Germany were declared “degenerate art”, and all modernist creations were subject to confiscation. In total, about 1,400 artists and 20 thousand works of art were damaged. And the “leader” in this crazy list was Emil Nolde himself. More than 1,000 paintings were confiscated from him, some of which were burned, others were sold. True, the author managed to return some of the paintings.

The proceedings with the so-called representative of “degenerate art” did not end there. In August 1941 he was expelled from the Imperial Chamber fine arts and were banned from engaging in professional artistic activities.

Nolde moved from Berlin to Holstein, where he built a house-workshop. Here the artist worked on small watercolors in secret from the inspector. He did not paint with oils, fearing that the specific smell of the paint would “give him away”. Despite house arrest, Emil Nolde created almost 1,300 watercolors, which he called “unpainted paintings.”

People started talking about the artist again and recognized his outstanding talent in the post-war period. In 1950, he received the Venice Biennale Prize, and three years later the German government awarded him the Medal for Merit in the Field of Science and the Arts.

At that time, Emil Nolde began to leave the house even less often, devoting himself entirely to art. He worked in his studio until April 15, 1956 - last day when the artist held a brush in his hands and drew with it intricate pattern on canvas.

Large-scale exhibition of the classic German expressionism "Emil Nolde. Color is life" opened in National Gallery of Scotland. More than a hundred works - paintings, drawings, watercolors, engravings - were brought to Edinburgh from the collection Emil Nolde Foundation in Seebühl.

The exhibition covers all periods of the artist’s work - from early impressionistic painting, the powerful flowering of expressionism in 1910–1930, to the late watercolors created by Nolde in the 1940s.

Nolde is a color magician who opened up completely new possibilities for painting. Starting with a passion for impressionism, in the 1900s he joined the group "Bridge", which became the cradle of German expressionism. However, Nolde lasted only two years with “The Bridge”, then continued his own path in art. His ability to paint in stunning colors, as if filled with inner light and even sound, was embodied in several storylines. Nolde surprisingly emotionally rethought biblical history, bringing it closer to modern times. Another story was night life Berlin with its cabarets, cafes and theaters. Nolde's wife Ada was a dancer, so he had the opportunity to see this carnival existence from the inside. Another significant subject is powerful landscapes that sound like medieval oratorios.

The 1930s became a testing period for the artist. He became interested in the ideas of fascism and joined the NSDAP. The organizers warn that the exhibition contains works that may “upset” the viewer. This is, for example, "Martydom 1921", where the crucified Christ is ridiculed by characters with Semitic traits. Because of political views and membership in the NSDAP, Nolde’s work will forever remain stamped with regret.

However, the Nazis did not reciprocate his feelings; Nolde’s art was recognized as degenerate, and his painting took center stage at the famous exhibition “Degenerate Art”. More than 1,000 works were confiscated from Nolde, which were partially destroyed and partially sold. He was banned from artistic activity and, secluded in his house in Seebühl, he painted watercolors underground, burying them in his own garden. This “unwritten painting” was as luminous and deafening as his previous works.

After the war, Nolde was rehabilitated, took up his brush again, worked until his death and was even invited to legendary exhibition.

For those who will not be able to attend the current exhibition, the organizers have made a voluminous video showing the exhibition in detail, which can be seen on the museum’s website.

Emil Nolde
"Free Spirit"
1906
© Nolde Stiftung Seebüll

Emil Nolde
"Party"
1911
© Nolde Stiftung Seebüll

Emil Nolde
"Exotic Figures II"
1911
© Nolde Stiftung Seebüll

Emil Nolde
"Prophet"
1912
© Nolde Stiftung Seebüll

Emil Nolde
"Candle Dancers"
1912
© Nolde Stiftung Seebüll

Emil Nolde
"Junks" (red)
1913
© Nolde Stiftung Seebüll

Emil Nolde
"Bay"
1914
© Nolde Stiftung Seebüll

Emil Nolde
"Landscape / North Friesland"
1920
© Nolde Stiftung Seebüll

Soon after the completion of his grandiose Nolde begins the next cycle. It is not so huge, but still there is more than one painting - this time it is a triptych about St. Mary of Egypt. In fact, the choice of topic is somewhat strange (and this is without even going into psychoanalytic depths) - Mary of Egypt is revered in Orthodox versions of Christianity, she is known, but much less revered in Catholicism, and it’s generally difficult for me to say anything about the Protestant churches - it’s too painful ticklish her biography.

Here Mary is still committing fornication with might and main in the dens of Alexandria:

Emil Nolde - Die Heilige Maria von Aegypten. Im Hafen von Alexandrien- Mary of Egypt in Alexandria (1912)

Right here -

she is already praying in front of the icon of the temple in Jerusalem

Emil Nolde - Die Heilige Maria von Aegypten- Prayer to Mary of Egypt in front of the Temple (1912)

And here her imperishable ashes are about to be buried in the desert by Saint Zosima, with the active assistance of a lion.

Emil Nolde - St.Mary of Egypt in the Desert- Burial of Mary of Egypt in the Desert (1912)

There is another painting about Mary of Egypt, in which Zosima hands her a cloak, but she is not officially included in this triptych.

Before his huge, nearly-written-around-the-world trip to Papua New Guinea and back in 1913-4, Nolde wrote several more biblical works, for example:

Emil Nolde - Die Heiligen Drei Konige(The Three Magi, Three Magi) - (1912)

as well as several “redrawings”, when he painted pictures from figurines he had in his collection, like the Madonna and Child or Judas; there is even one mosaic with Madonna, which he laid out in his own way early drawing in 1912.

Then there was such a crazy love trip more than a year long; almost all the works written in it are confiscated in Port Said (the war began, and Egypt at that time was still a British colony), although then, much later, he will be able to rescue most of them.

Returning to Berlin, Nolde began to master topics that were new to him - the Siberians of Russia, other natives (after all, German Gauguin!), even some Buddhas appeared in his pictures. But soon he began to write again on biblical themes. Here are just a few works:

Emil Nolde - Saint Symeon and the Women- Simeon (the Holy Fool) with women (1915)

With this picture there may be misunderstandings; in Christianity there are a number of St. Simeons - for example, Simeon the Stylite, who stood on a pillar for 37 years, or Simeon the Theologian, a writer of hymns. But this is not about them, but about the so-called Simeon the Holy Fool, who skillfully pretended to be a madman, and on one of the pages of his biography actually broke naked into the women’s section of the bathhouse. It can be seen that Nolde's version is somewhat different from the commotion and quick expulsion that happened in the original.

Emil Nolde - Entry into Jerusalem- Ascension to Jerusalem (1915)

Emil Nolde - The Last Judgment - Last Judgment (1915)

Emil Nolde - Simeon Meets Mary in the Temple- Simeon the God-Receiver meets Mary in the Temple (1915)

And then the “joker” Nolde portrayed a completely different Simeon, the so-called God-Receiver; it has nothing to do with the previous one (although who knows now? what if Nolde not by chance wrote one after another?)

Emil Nolde - The Tribute Money (1915)

This is a not very well known, but cute story from Matthew, when Jesus, in order to pay the temple fee, asked Peter to catch a fish, in the mouth of which there would be a four-drachma coin.

Emil Nolde - Grablegung(Burial) - Burial (1915)

Emil Nolde - Philistines - Philistines (1915)

Then in biblical motifs There's a big break (I don't know why). Next big splash happened in 1921, when he created his next (and at the same time his last) triptych Martyrdom(Martyrdom). Like Lives, the original sketch has been preserved:

I now have a reproduction of only the central part in color -

The left and right panels are black and white reproductions in my own coloring:

Then - Expulsion from Paradise

Emil Nolde - Verlorenes Paradies(Paradise Lost) (1921)

Emil Nolde - Joseph's Temptation- The Draining of St. Joseph (1921)

(Joseph, unlike Anthony, was not tempted by demons, but completely beautiful woman- more precisely, she did not tempt, but seduced; it's clear he didn't give in).

Emil Nolde - Judas with the High Priests- Judas with the High Priests (1922)

Another Adoration of the Magi

Emil Nolde - Anbetung(Adoration) (1922)

In subsequent years he painted several more works, but I do not have reproductions of them. In 1926 they write Sinners And Annunciation(the last one is missing too)

Emil Nolde - Die Sonderin(The Sinner) (1926)

Then there was another break, until 1929, in which several works were again written at once, including the most beautiful

Emil Nolde - So Ihr Nicht Werdet Wie Die(Except Ye Become as Little Children) (1929)

This translates into Russian as " Truly I say to you, unless you are converted and become like children, you will not enter the kingdom of heaven.”.

Following this work, Nolde wrote a very strange work, which even critics who were well disposed toward his work considered “out of bounds.” This painting is now called Ecstasy(but again, this is not the original, but a b/w painted by me).

It was originally planned that this would be the Immaculate Conception (oh, if only there was a mirror!).

But then, apparently, even Nolde’s hand trembled or whatever it is that usually trembles, and he replaced the name with Ecstasy.

"... The last painting is rather strange, I was thinking of something like the Immaculate Conception, in deep yellow and glowing red, violet and... - should one not be able, and allowed to paint something like that, too" .

In 1931, the cute Hermit on the Tree is written

Emil Nolde - Eremit in Baum(Hermit in Tree) (1931)

but also a few more works. In 1933 - another Worship

Emil Nolde - The Adoration of Magi (1933)

In 1940, after the condemnation and disgraceful exhibition of his work on Degenerate Art, and very shortly before the ban on painting and selling paintings, he wrote Gardener- technically, it may not be a biblical work, but it would be good to complete the biblical series.

Emil Nolde - The Great Gardener (1940)

But no, after the war he will paint several more paintings (which I don’t have yet, though).

As I said, these are not all of his works, since Nolde wrote a lot of watercolors and engravings, and this part of his work is still little familiar to me.

What conclusions can be drawn here? Well, it's obvious" big role in creativity", I somehow didn’t know about this. A very, very strange choice of topics, freedom and revelry for psychoanalysts. Maybe not very obvious, but some connection with commercial success (these works sold much better than in average for him). And the most important thing (but most difficult to articulate) is their influence on his departure from realism, in a variety of senses, and the arrival - I don’t even want to call it expressionism, it’s a stupid word - but to some kind of fantasy, to his completely inhuman, but at the same time just deeply human emotionalism.