Seated Nude
Franz Nölken (Hamburg 1884 - La Capelle 1918)
Lot-No. 7
Around 1914. Oil/canvas. 100 x 81 cm. Scattered retouchings. In Nölken's beautiful nude from his late work, the impressions of his repeated visits to France are fruitfully incorporated. He has his model adopt a pose with foreshortenings that are sometimes difficult to depict in painting. The lighting situation is also a challenge for the depiction of light and dark areas and different local colors. N. succeeds in combining Cézanne's brushstrokes and Matisse's color harmonies into a harmonious and independent synthesis. The outlines that playfully follow the contours are also characteristic and were to become typical of artists of the Hamburg Secession. - Expertise: Friederike Weimar, Hamburg 2018, confirms the authenticity - N. is one the most important artist's of early modernism in Hamburg and of international importance. He was pupil of A. Siebelist since 1900. In 1904 he joined the Hamburgische Künstlerclub, in 1907 he became member of the 'Brücke' on recommendation of K. Schmidt-Rottluff. After exhibiting with the Brücke artists in Dresden in 1909 he went to Paris accompanied by F. Ahlers-Hestermann and W. Rosam to study in the studio of H. Matisse. The collectors E. Rump as well as the owner of Beierdsorf, O. Troplowitz were among his promoters. N.s many-sided pictorial oeuvre was rooted in naturalism and later received influences of French neoimpressionism and of Matisse. Mus.: Hamburg (Kunsthalle), Berlin (Brücke Museum), Schleswig (SHLM) a. others. Lit.: Thieme-Becker, Vollmer, Rump, Der Neue Rump, C. Meyer-Tönnesmann: Der Hamburgische Künstlerclub von 1897, Kat. Galerie Herold with cat. rais. by Meyer-Tönnesmann 1984 a. others.
Franz Nölken: Seated Nude
Franz Nölken (Hamburg 1884 - La Capelle 1918)
Seated Nude
Lot-No. 7
Around 1914. Oil/canvas. 100 x 81 cm. Scattered retouchings. In Nölken's beautiful nude from his late work, the impressions of his repeated visits to France are fruitfully incorporated. He has his model adopt a pose with foreshortenings that are sometimes difficult to depict in painting. The lighting situation is also a challenge for the depiction of light and dark areas and different local colors. N. succeeds in combining Cézanne's brushstrokes and Matisse's color harmonies into a harmonious and independent synthesis. The outlines that playfully follow the contours are also characteristic and were to become typical of artists of the Hamburg Secession. - Expertise: Friederike Weimar, Hamburg 2018, confirms the authenticity - N. is one the most important artist's of early modernism in Hamburg and of international importance. He was pupil of A. Siebelist since 1900. In 1904 he joined the Hamburgische Künstlerclub, in 1907 he became member of the 'Brücke' on recommendation of K. Schmidt-Rottluff. After exhibiting with the Brücke artists in Dresden in 1909 he went to Paris accompanied by F. Ahlers-Hestermann and W. Rosam to study in the studio of H. Matisse. The collectors E. Rump as well as the owner of Beierdsorf, O. Troplowitz were among his promoters. N.s many-sided pictorial oeuvre was rooted in naturalism and later received influences of French neoimpressionism and of Matisse. Mus.: Hamburg (Kunsthalle), Berlin (Brücke Museum), Schleswig (SHLM) a. others. Lit.: Thieme-Becker, Vollmer, Rump, Der Neue Rump, C. Meyer-Tönnesmann: Der Hamburgische Künstlerclub von 1897, Kat. Galerie Herold with cat. rais. by Meyer-Tönnesmann 1984 a. others.
