“They [his own fantasies he made in strange pencil drawings then] hover before me now in drifting color, more beautiful than I can possibly paint them.... I yearn for the day when I will have found my color harmonies, my harmonies.”

— Emil Nolde

Quote of Nolde's letter, 1902, to Hans Fehr; as cited in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 35
During the next few years, Nolde virtually commuted between Copenhagen and Berlin; in the fishing village of Lildstand on Jutland's northern coast, he produced strange pencil drawings, as he wrote to Fehr
1900 - 1920

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Emil Nolde 28

German artist 1867–1956

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“Although I have the colors, only the Lord can mix them with such harmony.”

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“.. When I have made some drawings I see them immediately in front of my eyes, enlarged [and] in colors..”

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“Immediately and definitively [after starting a painting] I determine the effect of sunlight, day and shadow, without being concerned with any detail. This enable me to see in the started painting the whole of it, which my mind already saw before I begun to work - I see it appearing on the panel or canvas rather soon and can consider in this way the harmony of the composed objects and colors.”

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“Why do I paint? In my work as a mathematician, form, structure, and economy of expression are important. In music, add tone quality, balance and harmony. And now in painting, these aesthetic values are enhanced by color, contrast, and composition.”

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Robin Hartshorne Fine Art, fineartstudioonlione.com http://robinfaso.fineartstudioonline.com/about

“I mixed [early 1950's] funny shades of colors and used them but I used them because they made the drawing in my picture move. It wasn't because I was in love with the idea of putting color down. But these colors were the expedient things to use for the way I drew and I say 'draw' not meaning line, though it might have included line. But the way I drew or envisioned or made my work. And it happened that it came out stressing color. But I did not have a vision or a notion about color per se being the thing that would make me or my pictures work or operate.”

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“Naturally, form has come to take precedence over color with me, though when I began painting color predominated. Slowly artistic evolution carried from color to form and while I still employ color, of course, it is the drawing which assumes the place of first importance in my pictures.”

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“I could not appreciate his [ Boudin ] paintings and when he offered to take me with him to paint outdoors in the open countryside, I always found a pretext and refused politely. But when summer came, I was more or less free to dispose of my time as I wished and I had no feasible excuse left to give him and gave in. Thus it was, that Boudin - with his inexhaustible kindness - took it upon himself to educate me. With time, my eyes began to open and I really started to understand nature. I also learned to love it. I would analyze its forms with my pencil. I would study its colorations.”

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Source: Negin (1971), p. 57

“They [his own fantasies he made in strange pencil drawings then] hover before me now in drifting color, more beautiful than I can possibly paint them.... I yearn for the day when I will have found my color harmonies, my harmonies.”

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Emil Nolde 28

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