If colour is the hallmark of Expressionism, then the work of Emil Nolde encapsulates this beautifully. Colour is the single unifying characteristic of the works shown in the National Gallery, in an exhibition that invites you to contemplate the wide range of influences that are embodied in Nolde’s work. The space allows the viewer to move not through the stages of the artist’s career but rather through his moods and influences. Entering the exhibition, you find yourself surrounded by scenes of contemporary life that range from the artist’s rural homelands of Denmark and Germany to the modern metropolis. Nolde articulates himself through colour. His figures are indistinct and in some cases their settings vague, yet the vibrancy of the works allows the viewer to share the intensity of their worlds. From here, the tone becomes unexpectedly religious. The viewer is confronted with traditional themes such as the annunciation and martyrdom but in a jarring modernist approach. The Martyrdom triptych is extremely aggressive, leering figures overlook the demise of the early Christians whose only choices are apparently between death by fire or death by lion. Nolde’s approach to the annunciation is also bizarrely sexual and the primal nature of each of these scenes is further exacerbated by the garish use of colour. Another intriguing facet of the exhibition is the inclusion of a selection of watercolours. Under Nazism in Germany, Nolde was branded as a degenerate artist and many of his paintings were removed from galleries. Ironically, Nolde himself had been an ardent supporter of the Nazi party yet was forbidden to paint during the regime. The watercolours produced in this period were what Nolde called his ‘Unpainted Pictures’ and each small piece indicates his frustration. Given his politics, it’s hard to feel sorry for him. Where the artist truly shows his mastery of expressive colour is in his natural landscapes. Blonde Girls and Trollhois Garden are excellent examples of his brilliance as a colourist. The lack of chronology can make Nolde’s career hard to follow in places, however, the exhibition stays true to Expressionism by allowing the viewer to experience the tonal and influential shifts in the artist’s style. Emil Nolde was a complex person, yet his work remains deeply evocative. Colour is Life celebrates these qualities, yet still acknowledges the enigmatic nature of Emil Nolde as both an artist and an individual.

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