Ernst Wilhelm Nay, ‘Dominant Gelb’, 1959, Ludorff

Catalogue Raisonné by Scheibler 1990 no. 915

Signature: Signed and dated “59” Signed again on the verso and marked »NAY – Dominant Gelb« – 1959« on the stretcher

Städtische Kunsthalle und Kunstverein für die Rheinlande und Westfalen, »Kunst des 20. Jahrhunderts aus rheinisch-westfälischem Privatbesitz«, Dusseldorf 1967; Galerie Der Spiegel, »E. W. Nay. Bilder, Aquarelle, Zeichnungen«, Cologne 1959; Von der Heydt-Museum, »Die 50er Jahre. Aspekte und Tendenzen«, Wuppertal 1977; Von der Heydt-Museum, »Kunst der Gegenwart in Wuppertaler Privatbesitz«, Wuppertal 1965

Archiv für Bildende Kunst am Germanischen Nationalmuseum Nürnberg (ed.), »E. W. Nay 1902-1968: Bilder und Dokumente «, Munich 1980, ill. VII, p. 12; Christian Rathke/Werner Höfer, »Die 50er Jahre. Aspekte und Tendenzen«, exh. cat., Von der Heydt-Museum, Wuppertal 1977, n. pag.; FAZ, 12.10.1977, Frankfurt am Main 1977, ill.; Städtische Kunsthalle und Kunstverein für die Rheinlande und Westfalen, »Kunst des 20. Jahrhunderts aus rheinisch-westfälischem Privatbesitz«, exh. cat., Dusseldorf 1967, ill. 80; Von der Heydt-Museum, »Kunst der Gegenwart in Wuppertaler Privatbesitz«, exh.cat., Wuppertal 1965, n. pag.

Galerie Der Spiegel, Cologne (1959); Collection Klaus Frowein, Wuppertal (1967); Private Collection North Rhine-Westphalia

About Ernst Wilhelm Nay

Ernst Wilhelm Nay deftly adapted his Expressionist style to the climate of post-war abstraction, maintaining subtle and individual use of color while expressing energy with quick brushstrokes. White Spring (1963), part of his purely abstract series of oil paintings composed mainly of loose circles (“Disks” 1955-63), exemplifies his capacity for deep conceptual and expressive meaning. For Nay, the disks represented a fundamental, universal form, free of personal connotations. Color remained central to Nay’s paintings, gouaches, and drawings, as he simplified forms and cooled his palette—sometimes applying daring color combinations—to create spaceless compositions of planes in late works such as Sinus (1966). Unlike many of his peers, Nay eschewed the influence of second-generation Abstract Expressionism and the newly emerging threads of Op, Pop, and Minimalist art.

German, 1902-1968, Berlin, Germany

Group Shows on Artsy

2015
Constructive Colour, Setareh Gallery, Düsseldorf
2015
Aspects of German Art (Part One) - Revisited, Ben Brown Fine Arts, Hong Kong
2015
Aspects of German Art (Part One), Ben Brown Fine Arts, Hong Kong