Ernst Wilhelm Nay, ‘Frau und Hahn’, 1948, Ludorff

The current work relates to the oil painting “Frau und Hahn", which is registered in the catalogue raisonné by Scheibler 1990 as no. 452

Signature: Signed and dated "48"

Galerie Ludorff, "Formen der Abstraktion", Dusseldorf 2015

Galerie Ludorff, "Formen der Abstraktion", Dusseldorf 2015, p. 12; Magdalene Claesges,
"Ernst Wilhelm Nay Werkverzeichnis Aquarelle - Gouachen - Zeichnungen. 1919-1945", vol. 1, Cologne 2012, p. 490

The artist’s studio; Galerie Schmela Dusseldorf; Private Collection Cologne

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

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