![]() ![]() Today, the Hagemann Collection forms the core of the Städel museum’s Expressionist collection. Further donations and permanent loans as well as purchases of paintings and watercolours from the Hagemann estate helped to compensate for the losses the museum had suffered in 1937 as part of the Nazi’s “Degenerate Art” campaign. ![]() In gratitude, the family donated almost all of the works on paper to the Städel Museum in 1948. After Carl Hagemann died in an accident during the Second World War, the then Städel director Ernst Holzinger arranged for Hagemann’s heirs to evacuate his collection with the museum’s collection. It included numerous paintings, drawings, watercolours and prints, especially by members of the artist group “Die Brücke”. About the Acquisitionįrom 1900 onwards, the Frankfurt chemist and industrialist Carl Hagemann (1867‒1940) assembled one of the most important private collections of modern art. This way, Nolde made the transition from his Impressionist-influenced early work to the colourful and expressive style of painting for which he is appreciated today. ![]() In the depictions created from 1909 onwards, he transferred traditional themes from the Old and New Testaments into decidedly subjective compositions, simplified forms and a garish colourfulness. The painting belongs to what he called his “biblical and legend paintings”. Just as Christ had resisted hostility, Nolde also wanted to stand up to his opponents. In the year of its creation, the artist was expelled from the Berlin Secession and suffered through other crises. Nolde shows Christ surrounded by a Protestant priest, a monk, threatening devilish figures and a few elect. The picture is dominated by yellow and green. ![]()
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