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Separatudstillinger: Louisiana 1967-68, 1986; Nordjyll. Kunstmus. 1977; Arken, Ishøj 1996, Emil Nolde voksede op i et vestslesvigsk landsogn, hvor befolkningens nationale sindelag i overvejende grad var tysk og dens religiøse livssyn præget af pietismen sydfra. Som tysksindet slesviger søgte han primært sine kunstneriske forbilleder i den tyske kunst. Lucas Cranach, Hans Holbein, Albrecht Dürer og frem for alle Isaac Grünewald var efter hans opfattelse sande eksponenter for den \"germanske urkraft\", han søgte at rendyrke i sine egne billeder. Med sit heftige udtryksmaleri vandt han tidligt status som en af den tyske ekspressionismes hovedkræfter. Paradoksalt nok var det netop denne tilstræbte germanisme, der bragte N.s kunst i fokus som særlig \"entartet\", da nationalsocialisterne i 1930rne gennemførte deres systematiske udrensning af modernistiske tendenser i det tyske kunstliv. Alligevel er der meget, der også knytter N. til Danmark. Da han i vinteren 1900-01 opholdt sig her i landet, søgte han kontakt med danske kunstnere som Viggo Johansen, Joakim Skovgaard, Ejnar Nielsen, Vilhelm Hammershøi og J.F. Willumsen. Bortset fra sidstnævnte fandt han dog ikke deres bestræbelser åndsbeslægtede med sine egne. Paradoksalt nok fandt hans første vigtige fremstød mod en ekspressiv billedudformning alligevel sted i Danmark, nærmere betegnet i Lildstrand i sommeren 1901, hvor kunstneren isolerede sig fra omverdenen og i en sværmerisk, hallucineret sindstilstand udførte en række stærkt ekspressive tegninger med groteske figurer i sælsomme optrin, Vor Sonnenaufgang, Dünenspuk, Sonnenanbeter m.fl. På grundlag af førstnævnte tegning malede han få måneder senere i Berlin det skelsættende oliebillede Vor Sonnenaufgang. Ægteskabet med danske Ada Vilstrup forstærkede selvsagt båndene til Danmark. Ved Genforeningen i 1920 blev Tønderegnen, hvor N. boede, dansk og kunstneren dansk statsborger. Han bevarede denne nationale status til sin død, selv om han allerede i 1927 flyttede til Seebüll på den tyske side af grænsen. l begyndelsen af 20rne knyttede N. venskabelig forbindelse med Harald Giersing, der fik ham med som gæst på Grønningens udstilling i 1922. Også med Oluf Høst havde han i en periode nær personlig kontakt. N. skænkede i flere omgange Statens Museum for Kunst en række akvareller og oliemalerier. Vigtigst var de 8 malerier, deriblandt hovedværket Nadveren, 1909, som han i 1952 donerede museet gennem et tillæg til testamentet fra 1946. Denne enestående kunstgave til N.s \"andet fædreland\" gav en repræsentativt alsidig og kronologisk vidtspændende dækning af hans oeuvre, rækkende fra de tidlige ekstatisk-visionære, religiøse billeder frem til senfasens farveglødende blomsterbilleder. N. brugte selv ordene \"germansk\" og \"nordisk\" som synonyme begreber, og han drømte om, at det livsværk, han stillede til skue for eftertiden i Seebüll-museet ved den dansk-tyske grænse, kunne \"danne en forståelsens bro mellem Skandinavien og Tyskland\". Bortset fra enkelte åndsbeslægtede undtagelser, som f.eks. 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Den lille by, smukt beliggende mellem en\r\nklippefuld kyst og bakker med oliventræer og vinmarker,\r\nfik en særlig betydning for Henri Matisse, der kom her\r\nførste gang i sommeren 1905. Her var billigt at bo og få\r\nforstyrrelser. Kort efter ankomsten sendte han et postkort til\r\nsin yngre malerven André Derain: “Jeg kan ikke insistere nok\r\npå, at et ophold her er absolut nødvendigt for Deres arbejde”.\r\nDerain sluttede sig til Matisse, og de to kunstnere kastede\r\nsig ud i vilde maleriske eksperimenter i byen og bakkerne\r\nomkring Collioure; dette landskabsbillede er et af dem.\r\nMed sine stærke farvekontraster, energiske\r\npenselføring og dekorativt bugtende linjer frigør maleriet\r\nsig fra en rent afbildende funktion og formidler i stedet\r\nen subjektiv oplevelse. Billederne fra Collioure vakte stor\r\nopmærksomhed, da de senere på året blev vist på den\r\nparisiske efterårssalon og lagde grunden til Matisses\r\nrenommé som en af modernismens væsentligste pionerer (50 værker du skal se på SMK).","type":"CATALOGUETEXT","source":"Dorthe Aagesen","date":"2024-01-01T00:00:00.000Z"}],"materials":["Lærred"],"object_names":[{"name":"Maleri"}],"production":[{"creator":"Matisse, Henri","creator_forename":"Henri","creator_surname":"Matisse","creator_date_of_birth":"1869-01-01T00:00:00.000Z","creator_date_of_death":"1954-01-01T00:00:00.000Z","creator_nationality":"Fransk","creator_gender":"MALE","creator_lref":"897_person"}],"production_date":[{"start":"1905-01-01T00:00:00.000Z","end":"1905-12-31T00:00:00.000Z","period":"1905"}],"related_objects":[{"notes":"Studie til maleriet \"Le bonheur de vivre\" étude pour \"Le bonheur de vivre\" Study for \"Le bonheur de vivre\""}],"techniques":["Olie på lærred"],"titles":[{"title":"Landskab ved Collioure. 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