Wintershall-sponsored exhibition at the National Gallery in Oslo
Emil Nolde exhibition delights Norway
Embodiment of intercultural understanding: 50,000 people visited the Wintershall-sponsored exhibition at the National Gallery in Oslo.
Oslo. The Norwegian capital can look back on a successful art event: last weekend the major retrospective on Emil Nolde (1867-1956) came to an end. From 12 October 2012 to 20 January 2013, around 50,000 visitors came to the National Gallery in the National Museum to gain an insight into the thematically and artistically diverse works of the German Expressionist. The exhibition, which was presented under the title ‘Emil Nolde. In Search of the Authentic’, was supported by Wintershall as the main sponsor.
“As an internationally operating company, we feel that it’s very important to get actively involved in the local society,” explains Bernd Schrimpf, Managing Director of Wintershall Norge. “In view of this, we are delighted that our support for the Emil Nolde Exhibition has enabled us to also successfully deepen the understanding between Germans and Norwegians in the cultural sphere.”
Nils Ohlsen, Director of Old Masters and Modern Art at the National Museum, draws a positive balance on looking back on the exhibition: “Right from the opening it was noticeable that Nolde’s human and richly colourful pictorial language had touched an important nerve with the Norwegians.” The Nolde retrospective is one of the largest and most complex exhibitions to have ever been realised in the National Gallery. “We’re delighted to have been able to gain a strong partner with Wintershall,” says Ohlsen.
In particular, the exhibition impressed through the striking thematic range of the pictures. As part of the ‘Search of the Authentic’, the Nolde retrospective presented religious, erotic, bizarre and fantastical motifs. On show, for example, were portraits along with depictions of flourishing gardens and tranquil landscapes. In the exhibited works from Emil Nolde, his growing dissatisfaction with contemporary Western society becomes increasingly evident, which he counters with his own idealised concept of the ‘noble savage’.
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