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©
Nolde Stiftung Seebüll
Emil Nolde

Red Flowers

1906
Oil on canvas.
52.4 x 55.8 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
693
(
1980.12
)
ROOM 38
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room

In 1906, after Emil Nolde’s exhibition at the Galerie Arnold in Dresden, Schmidt-Rottluff invited him to join the Die Brücke group in a letter dated 4 February: “one of Die Brücke’s undertakings is to attract any ferment of revolution, that is what its name wishes to proclaim [...]. And so, dear Mr Nolde, whatever you think and decide, we hereby wish to pay tribute to you for your tempests of colour. With our respects, and placing ourselves at your disposal, yours sincerely, Kunstlergruppe Brücke.” Nolde remained with them for little more than a year and a half, as the difference in age and criteria that separated him from the young Expressionists led to a number of disagreements.

That summer Nolde went to Guderup, a town on the Baltic island of Alsen, where he had rented a small fishermen’s house since 1903. During this period, in which he was visited by Schmidt-Rottluff, Nolde painted a set of pictures of flowers in the gardens of his friends the Burchards and the Wieds. One of the paintings from this series is the present Red Flowers, which is clearly influenced by the work of Van Gogh and the French Post-Impressionist painters, as evidenced by the brilliant colour and the thick, paint-laden brushstrokes. The cheerful colours and sense of happiness conveyed by these paintings is surprising, as they were executed at a time of notable financial hardship and sadness in his personal life on account of his wife Ada’s serious illness.

The painting was acquired by Ernst Rump (1872–1921) during the exhibition of Nolde’s works at the Galerie Commeter in Hamburg in 1910 and passed through the hands of several members of the family until it was bought by Baron Thyssen in 1980.

Paloma Alarcó

20th Century20th Century - European painting. ExpressionismPaintingOilcanvas
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Red Flowers. Flores rojas, 1906
Red Flowers
Emil Nolde

©

Nolde Stiftung Seebüll

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The exploitation rights of the images correspond to the Fundación Colección Thyssen-Bornemisza, F.S.P. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes and non-commercial uses.

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Red Flowers. Flores rojas, 1906
Red Flowers
Emil Nolde

©

Nolde Stiftung Seebüll

Terms of Use

The Photographic Archive of the Museo Nacional Thyssen-Bornemisza offers sale and rental service of photographic material of all the works on its Permanent Collection.

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The Photo Library and the Museum's Commercial Archive manage the worldwide distribution of images of the Museo Thyssen-Bornemisza works, as well as their reproduction rights. The applicable rates are calculated based on the nature and proposed use of the images, as well as the availability of the requested image.

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However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the photographs set out below by the Foundation, it will be necessary to obtain a license from the author or copyright holder known to the Fundacion in order to reproduce or exploit the work.

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