Catalogue entry

Emil Nolde 1867-1953

T00865 The Sea B 1930

Inscribed 'Nolde' b.r. and 'Emil Nolde: Meer B.' on the stretcher
Oil on canvas, 29 x 39 3/4 (73.5 x 101)
Purchased from Marlborough Fine Art (Special Grant-in-Aid) 1966
Prov: Max Kruss, Berlin (purchased from the artist); his widow, Frau Kruss, Berlin; with Marlborough Fine Art, London
Exh: XXVIII Biennale, Venice, June-October 1956 (German pavilion, 5) as 'Mare 1915-20'; Emil Nolde: Gedächtnisausstellung, Kunsthalle, Kiel, December 1956-January 1957 (15); Gedächtnisausstellung Emil Nolde, Kunstverein, Hamburg, April-June 1957 (110, repr.) with the date 1915-17; Museum Folkwang, Essen, June-September 1957 (110, repr.); Haus der Kunst, Munich, September-December 1957 (110, repr.); Art in Revolt, Marlborough Fine Art, London, October-November 1959 (24, repr.); Le Fauvisme français et les Debuts de l'Expressionnisme allemand, Musée National d'Art Moderne, Paris, January-March 1966 (249, repr.); Der französische Fauvismus und der deutsche Frühexpressionismus, Haus der Kunst, Munich, March-May 1966 (249, repr.); Emil Nolde, Marlborough Fine Art, London, June-July 1966 (1, repr. in colour)
Lit: Emil Nolde, Reisen - Ächtung - Befreiung 1919-1946 (Cologne 1967), pp.100-110
Repr: The Tate Gallery Diary 1969 (London 1968), n.p. in colour; The Tate Gallery (London 1969), p.115

This picture has been exhibited since 1956 with the dates 1915-17 or 1915-20, but Dr M. Urban has pointed out that it is in fact one of six seascapes entitled 'Sea A-F' which were painted in 1930 on the island of Sylt. Nolde went to stay there in the summer of 1930 while his new house at Seebüll was being repaired and found accommodation at Kampen with a window overlooking the North Sea.

As he recorded in his memoirs (op. cit.): 'I had a wish to live and paint as alone as possible, only observing, and in particular I wanted to see the sea once again, in all its wild greatness ...

'Months went by, that would have tried many men. Time passed quite quickly. I had remained almost completely alone. Autumn had arrived, the days grew shorter. Thunderclouds came, driven by hail-storms - lightning flashed into the sea ...

'I had finished or almost finished six seascapes, whose paint was still wet, working on them in a state close to ecstasy and contemplating and assessing them over and over again.'

Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.565-6, reproduced p.565