The contradictory nature of Emil Nolde: Painter of Heimat

Emil Nolde is one of the most controversial figures in Western art. As an early supporter of the National Socialist Party, Nolde and his artwork are frequently associated with the destruction of Fascism and the violent mentality that led to the Holocaust. Paradoxically, Nolde also wrote several autobiographies and created numerous artworks that showed his sympathy and appreciation for foreign cultures and peoples, particularly for groups who lived with a close connection to their native environment. His dichotomous nature generally leaves scholars sharply divided in their views on the artist and whether or not he should be included in the rubric of accomplished German Expressionists.;A thorough assessment of Nolde and his life's work seems nearly unthinkable without an analysis of the German concept of Heimat, or homeland, and the conservative Volkisch ideals that generated the exclusive borders of Heimat. Both concepts were ubiquitous in late-nineteenth and early-twentieth century German culture, yet scholars regularly attempt to navigate the contradictory labyrinth that is Emil Nolde with little or no attention to these prevailing cultural catalysts. Although the concept of Heimat is elusive due to the highly subjective personal values that the term encompasses, it is precisely this ambiguity that can separate benign and malicious intentions in support of, or in defense of the concept.;By evaluating Heimat and its influence over Nolde and his oeuvre, this thesis will demonstrate how the artist could be aligned with the more idealistic aspects of National Socialism, while not abetting its genocidal aspirations. A further examination of several artworks by Nolde will compare images containing German subjects and non-German subjects, highlighting the fact that Nolde favorably compared the revered peasant farmers of his own hometown with the natives of distant and foreign cultures. A critical look at Nolde's background and life's work provides strong evidence that although the artist loved his native region and German heritage, he spent a considerable amount of time criticizing colonialism and defending cultures that had Westernization unwillingly forced upon them. It likewise discredits the theories that Nolde was a hateful fascist who should be discounted from the history of Modern art.