Bonnichsen Family - Emil Nolde
Archival giclée
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Description
This portrait of the Bonnichsen family by Emil Nolde exemplifies his Expressionist style, with bold brushwork and a distinctive use of colour to capture the subjects' likenesses.
Emil Nolde, a German-Danish Expressionist painter and printmaker, was known for his intense brushwork and choice of colours. He was a member of the group Die Brücke (The Bridge), a key movement in the development of Expressionism. Nolde's art is characterised by its emotional force, often depicting religious scenes, flowers, and figures. His work often displays a raw, almost primitive quality, reflecting his interest in the art of indigenous cultures. Despite his artistic achievements, Nolde's biography is complicated by his support for the Nazi regime, a stance that led to periods of both favour and censure. He was eventually declared a 'degenerate artist' and forbidden to paint during the later years of World War II. 'Bonnichsen Family' exemplifies Nolde's approach to portraiture. The subjects are rendered with bold, expressive strokes and a distinctive use of colour. The faces are individualised through the application of pink and blue tones, while the figures are defined by strong outlines and simplified forms. The background is a solid, dark colour, which pushes the figures forward, creating a sense of immediacy. The painting's directness and emotional intensity are typical of Nolde's Expressionist style.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Bonnichsen Family - Emil Nolde
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Emil Nolde
He was born Emil Hansen in Nolde, a village on the Danish-German border, and took the village name as his surname. He was self-taught until his late twenties, when he studied briefly in Munich and Paris. He joined Die Brücke (The Bridge), the German Expressionist group, in 1906 but left after eighteen months, finding group membership constraining. He preferred to work alone.
His religious paintings, The Life of Christ and the multi-panel Pentecost altarpiece, are violent and ecstatic. The faces are distorted, the colours clashing, the compositions compressed. They are closer to medieval devotional painting than to anything being produced in early twentieth-century Europe. The Catholic Church was unenthusiastic.
He joined the Nazi Party in 1934, apparently believing that Expressionism would be embraced as authentically German. He was wrong. The Nazis declared his work 'degenerate' in 1937, confiscated over a thousand of his paintings from German museums, and eventually forbade him from painting. He continued to work in secret, producing small watercolours he called his 'unpainted paintings.' Over 1,300 of them.
After the war he was rehabilitated and honoured. He lived to ninety-one. His Nazi Party membership has complicated his legacy permanently, and should.
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