The Tribute Money - Emil Nolde
Archival giclée
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Description
Emil Nolde's 'The Tribute Money' is an Expressionist painting with bold colours and distorted figures, conveying a sense of unease and emotional intensity. The loose brushwork and crowded composition add to the painting's raw and immediate feel.
Emil Nolde (1867-1956) was a German-Danish Expressionist painter and printmaker. He was known for his intense use of colour and his emotionally charged depictions of religious scenes, figures, and northern European subjects. Nolde was initially associated with the group Die Brücke (The Bridge), a key movement in German Expressionism. However, he maintained an independent artistic path throughout his career. His work often explored themes of isolation, spirituality, and the raw power of nature. 'The Tribute Money' presents a scene with several figures rendered in Nolde's characteristic Expressionist style. The colours are bold and somewhat discordant, with reds, blues, and yellows dominating the composition. The figures' faces are distorted and mask-like, conveying a sense of unease or emotional intensity. The brushwork is loose and gestural, adding to the painting's raw and immediate feel. The composition is somewhat crowded, with the figures closely packed together, which adds to the sense of tension. The painting depicts a biblical scene, but Nolde's interpretation is far from traditional, focusing instead on the psychological and emotional aspects of the story.
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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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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.
The Tribute Money - 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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