Artist of the week: Emil Nolde.

Emil Nolde (German, August 7, 1867–April 13, 1956) was a painter and printmaker. He was born close to the German-Danish border, near the village of Nolde, under the birth name of Emil Hansen. His parents were Frisian and Danish peasants. Nolde was known for his bold choice of colors and dynamic brushwork. He is considered to be one of the first Expressionists. As a young adult, he worked in furniture factories, and did woodcarving and craftsman work. In 1889, the artist entered the School of Applied Arts in Karlsruhe, and became a drawing teacher in Switzerland. In his childhood years, he had a passion for drawing and painting, but he did not pursue a career as an artist until he was 31. In 1898, Nolde was turned down by the Munich Academy of Fine Arts. His rejection motivated him to hone his skills as an artist; he took painting and drawing classes for the next three years. During this time, Nolde often visited Paris, and he became familiar with the Impressionist Art culture that existed at that time. In 1902, he married actress Ada Vilstrup and relocated to Berlin. Shortly after moving, Nolde met art collector Gustav Schiefler (German, 1857–1935) and artist Karl Schmidt-Rottluff (German, 1884–1976). Later in life, both of these men were instrumental in advocating Nolde’s work.

In the early 1920s, Nolde became a supporter and member of the Danish section of the Nazi Party. Unfortunately for Nolde, Hitler did not agree with his style of art and eventually condemned his work. Because of his condemnation by the Nazi Party, 1,052 pieces of Nolde’s work were removed from museums and art galleries. After the removal of his work, the Nazi Party forbade him to paint in both public and private spaces. In spite of this, Nolde created hundreds of watercolor paintings in what he called the Unpainted Pictures series. Some of his other famous paintings include Portrait of a Young Woman and a Child (1926), Prophet (1921), and Young Couple (1913).

The artist’s work has been exhibited in many art galleries and museums, including the Hermitage Museum in St. Petersburg, Russia, and the Museum of Modern Art in New York, NY. Nolde died on April 13, 1956.



Italiener, 1906, woodcut, 28.3 cm x 22.8 cm.




Schiefer Turm in Soest, 1906, etching, 19.3 x 14. cm .


Images and text:

Late night ramblings.

You start with a thought, sometimes without one. Then you make a mark, then before you know it you’re lost. At first you’re scared, but then you accept the fact that you aren’t really in control, as bizarre as it may sound, the work itself dictates to you what it is required. Sometimes it screams, and you hear it loud and clear, other times it lets out less than a whisper. And then there is no end, a work is never complete. It is open, should it be closed, the work dies, and the magic along with it. That, is how I can best explain the act of creating art, for the moment anyway.

Robotic Art Forger.

A machine that can replicate almost any work of art using a sophisticated series of software and advanced mechanics. What does this mean for us artists? Not much I think, art forgers have been around for decades, as impressive as this machine is, it seems to be more of a demonstration of the advanced software and hardware than its ability to replicate works of art. Still impressive though.

Artist of the week: Candida Höfer

Candida Höfer (German, b.1944) is a photographer known for her large-format images of architectural interiors, which address the psychological environment of social and cultural institutions by acknowledging how public spaces are designed to accommodate and inform the public. After completing studies at the Cologne Werkschule, she enrolled in the Düsseldorf School of Art, where she was taught by Bernd and Hilla Becher (German, 1931–2007; b.1934), heavily influenced by the formal qualities of the austere documentary photography they endorsed.

Along with fellow German artists Thomas Struth (b.1954), Andreas Gursky (b.1955), and Thomas Ruff (b.1958), Höfer’s work became internationally recognized in the 1980s, and her subject matter expanded to include a myriad of places rooted in cultural formation and preservation, including museums, libraries, universities, theaters, civic centers, and historic sites. She has held numerous solo exhibitions throughout Europe and the United States, and her work has been included in several group shows at the Museum of Modern Art in New York, Documenta XI in Kassel, and the Museum Ludwig in Cologne. In 2003, Höfer represented Germany in the Venice Biennale with fellow compatriot, Martin Kippenberger (German, 1953–1997). She lives and works in Cologne, Germany




Trinity college, Dublin I, 2004, C-print, 180 x 215 cm. 



Teatro Scientifico Bibiena Mantova I, 2010, LightJet print,180 x 225 cm.


Images and text: