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THE ARTIST

1902 › 1914

1902 Ernst Wilhelm Nay is born in Berlin on 11 June, the second of six children. His parents are Johannes Nay, senior civil servant, and Elisabeth Nay, née Westphal.

1912 Attends the humanist Gymnasium in Berlin-Wilmersdorf.

1914 Nay’s father, captain in the German army, falls in Belgium, aged 52.

1906 – Nay (far left) with siblings before 1914 – Family Nay on the Baltic Sea coast (Nay with shovel)
1915 › 1925

1915 Nay enters the boarding school Schulpforta in Thuringia. First interest in modern art; first attempts at painting.

1921 Finalizes school with his high school diploma at Schulpforta. Nay begins a book trade apprenticeship in the Berlin bookshop Gsellius.

1922 Prematurely quits the book trade apprenticeship; first autodidactic landscapes and portraits.

1923 Nay attends an evening course in life drawing at the Berliner Kunstgewerbeschule and earns his living as a film extra at the UFA Studios, and, among other things, as salesman for books in the department store Kaufhaus des Westens.

1924 First portraits and landscapes. Nay approaches Karl Hofer at the Hochschule der Bildenden Künste with three of his autodidactic paintings.

1925 Hofer recognises Nay’s talent and recommends his "Bildnis Franz Reuter" for the spring exhibition at the Preussische Akademie der Künste. Hofer provides Nay with a scholarship and takes him on in his painting class.

1917 – Nay as confirmee
1926 › 1931

1926 First acquisitions of his works by museums in Lübeck and Hanover. Nay captures the attention of the editor of the magazine "Das Kunstblatt", Paul Westheim, who writes about him. Nay meets his future wife, Helene (Elly) Kirchner, a model for painters at the Hochschule der Bildenden Künste.

1928 Completion of his studies with Karl Hofer. Nay travels to Paris.

1930 Carl Georg Heise mediates an inhabitation for Nay in Bornholm, where he develops the "Strandbilder", of which one is acquired by the Nationalgalerie in Berlin.

1931 Nay receives the award of the Prussian Academy of Arts, which is linked with a nine-month scholarship at the Villa Massimo in Rome. There he creates small-format, surrealistic-abstract paintings.

1929 – Nay in Bornholm 1931 – In Rome
1932 › 1935

1932 Marriage to Helene (Elly) Kirchner. On his return trip from Rome to Berlin, he meets art dealer Günther Franke in Munich, who, from then on, promotes his art.

1933 Participation in the exhibition "Lebendige deutsche Kunst" at Alfred Flechtheim and Paul Cassirer galleries in Berlin. On 25 February 1933, an inflammatory article of the National Socialists in the fascist newspaper "Völkischer Beobachter" derides Nay’s painting "Liebespaar" (1930) as "a masterpiece of vulgarity."

1934 Acquaintances with Erich Meyer, Alfred Hentzen, Werner Haftmann, and Ernst Gosebruch, former director of the Folkwang Museum who had been dismissed in 1933. Nay begins the work period of the "Dünen- und Fischerbilder" (1934–1936).

1935 Through mediation by Gosebruch, Nay gets to know the collector Carl Hagemann, Frankfurt am Main. During summer, Nay stays in the fishing village Vietzkerstrand, Baltic Sea (Pomerania), from where large-scale reed pen drawings - the so-called "Fischerzeichnungen" - emerge.

1932 – With Elly, his first wife, in Rome 1932 – In Rome, with "Pieselchen"
1936 › 1939

1936 Short trip to Sylt. Renewed stay in Vietzkerstrand; numerous further "Fischerzeichnungen."

1937 Nay is banned from exhibiting in Germany. "In the Degenerate Art" exhibition (shown in Munich, Berlin, Leipzig, Düsseldorf, and Dortmund), he is represented by two paintings. Ten of his works are confiscated from museum collections. Through mediation of the dismissed Lübeck museum director Carl Georg Heise, Nay receives financial support from Edvard Munch, allowing him to travel to Norway. He spends three months on the Lofoten Islands, where he paints large-format watercolours. In his Berlin studio, he later develops equivalent paintings - the "Lofoten-Bilder".

1938 In the winter of 1937/38 his Lofoten watercolours are exhibited at Holst Halvorsen Gallery in Oslo. Proceeds from the sale allow Nay to take a second trip to the Lofoten Islands. Again, he creates watercolours and, after his return to Berlin, also a series of four woodcuts as well as landscapes and figure paintings.

1939 Visits the collector Hanna Bekker vom Rath in Hofheim am Taunus, where he paints watercolours. Acquaintance with Alexej Jawlensky in Wiesbaden, whom he visits several times. Nay has to short-cut his trip to the Black Sea, Bulgaria, due to the outbreak of war.

1937 – Nay on the Lofoten Islands 1936 – With fishermen on the beach of Vietzgerstrand, Baltic Sea 1936
1940 › 1945

1940 Nay is conscripted into military service. He is sent as infantryman first to southern France, then to Brittany. Stationed in Auray, in his spare time he works on small watercolours and drawings. During a holiday leave at home in Berlin, Nay sends most of his paintings to an uncle in Muskau an der Lausitz to protect them from the effects of the war.

1942 Through mediation by Hans Lühdorf, who is on duty as interpreter in Le Mans, Nay becomes a cartographer in Le Mans. There he meets, among others, the amateur sculptor Pierre de Térouanne, who makes available to him his studio and even provides painting materials. Now gouaches emerge for the first time, along with watercolours and drawings, and some smaller oil paintings.

1943 On an official journey to Paris Nay visits Wassily Kandinsky. Ernst Jünger visits him in Le Mans. An air raid destroys Nay’s studio in Berlin.

1944 Nay’s unit retreats from Amiens to the Eifel. Lühdorf writes a diary-like account of Nay’s artistic work in Le Mans.

1945 As early as May the Americans dismiss Nay from the German army. Since his studio in Berlin is destroyed, he moves to Hofheim am Taunus into a small studio house, provided by Hanna Bekker vom Rath. Productive contacts occur with, for instance, Ernst Holzinger, director of the Städelsche Kunstinstitut, and the writer Fritz Usinger. Nay begins his work period of the "Hekate-Bilder" (1945–1948).

1942 – Nay as a cartographer in Le Mans Sept. 1943 – Nay, Hans Lühdorf, and Ernst Jünger
1946 › 1949

1946 First post-war exhibitions at Galerie Günther Franke in Munich and Gerd Rosen in Berlin. Encounter with Elisabeth Kerschbaumer, his future wife.

1947 Solo exhibitions at Galerie Vömel, Düsseldorf, Werner Rusche, Cologne, at the Kunstverein in Hamburg, the Overbeck-Gesellschaft in Lübeck, as well as at Galerie Franz in Berlin. Acquaintances made with the collectors Bernhard Sprengel, Herbert Kurz, and Karl Ströher.

1948 Participation at the Venice Biennale. Acquaintance with the collectors Günther and Carola Peill.

1949 Following an amicable divorce from Elly, Nay marries Elisabeth Kerschbaumer. In Worpswede, Nay produces his first major graphic series, ten colour lithographs, published by Michael Hertz in Bremen. Exhibitions occur at the Städtische Kunsthalle Mannheim (with Fritz Winter) as well as in Frankfurt am Main at the Kunstkabinett Hanna Bekker vom Rath.

1946 – Nay in conversation with Ernst Gosebruch (in his Hofheim studio) 1947/48 – Nay’s studio house in Hofheim 1947 – In Hofheim 1947 – Nay’s studio in Hofheim
1950 › 1953

1950 First retrospective at the Kestner-Gesellschaft in Hanover.

1951 Back in Berlin for the first time, he meets the sculptor Hans Uhlmann and the art critic Will Grohmann, staying in close relationship with both. In October, he moves to Cologne, into a loft on Wiethasestrasse in Cologne-Braunsfeld.

1952 Nay begins the work period of the "Rhythmische Bilder" (1952–1953). Retrospective exhibition on the occasion of his fiftieth birthday at Haus am Waldsee in Berlin. Receives the Art Prize of the City of Cologne and the Karl Ströher Prize, Darmstadt.

1953 Nay, along with Jean Cocteau, Gino Severini, and Hans Erni, plots the abstract film "Eine Melodie – Vier Maler" (One Melody—Four Artists, directed by Herbert Seggelke). For three months during autumn, he is a guest lecturer at the Landeskunstschule Hamburg. Solo exhibitions at the Kunstverein für die Rheinlande und Westphalen, Düsseldorf, the Kunstverein Bremen, and at the Frankfurt Kunstverein, Steinernes Haus, Frankfurt am Main.

1952 – With his second wife Elisabeth 1952 – With his woodcuts from 1952 1952 – In his studio in Cologne, Wiethasestrasse
1954 › 1959

1954 Beginning of the work period of the "Scheibenbilder" (1954–1962), in which the circular shape of the disc is the dominant motif in all variations. During the summer, Nay stays in Løkken (Denmark), where he creates a series of large-format watercolours.

1955 Publication of the manifesto-like text "Vom Gestaltwert der Farbe". Nay is awarded the Lichtwark Prize of Hamburg. Participation at the documenta I in Kassel as well as at the Biennale in São Paulo. First exhibition at Kleemann Galleries in New York. Retrospective at the Kunstverein in Hamburg and at the Kestner-Gesellschaft, Hanover.

1956 Solo exhibition at the German Pavilion of the Venice Biennale. Nay paints a large mural "Das Freiburger Bild" (255 x 655 cm) for the Chemical Institute of the University of Freiburg. He is appointed a member of the Akademie der Künste in Berlin. Receives the Grand Prix of North Rhine-Westphalia for Painting.

1957 Stays in Crans sur Sierre in February where he creates watercolours. In Paris, he rents a studio and, at Georges Visat, prints a series of five coloured aquatints, published by Michael Hertz. Participates in the exhibition "German Art of the Twentieth Century" at The Museum of Modern Art in New York.

1957 1958 – With Elisabeth in Crans sur Sierre 1958 – Nay in his studio
1960 › 1962

1960 Retrospective at the Kunsthalle Basel, curated by Arnold Rüdlinger. Publication of Werner Haftmann‘s Nay monograph. Nay receives the Guggenheim Price, New York (German Section). During summer, Nay paints watercolours in Ischia. Solo exhibition at the New London Gallery, London.

1961 Solo exhibition at Knoedler Gallery, New York. Meets art dealer Harry Brooks. Nay travels through the United States.

1962 Large retrospective for his sixtieth birthday at the Folkwang Museum in Essen. Second solo exhibition at Knoedler Gallery, New York. Nay travels to New York, Washington, and Boston.

1962 – Nay creating watercolours while on holiday in Ischia 1963 – Nay in his studio
1963 › 1965

1963 Nay begins the work period of the "Augenbilder" (1963–1964). Travels to the United States and Mexico. Visits Paul Westheim in Mexico City. Solo exhibition on occasion of the fortieth anniversary of Galerie Günther Franke, Munich.

1964 On Arnold Bode‘s proposal, Nay creates three large scale, so-called "documenta-Bilder", which are presented hanging on the ceiling at the documenta III in Kassel (now on permanent loan to the Federal Chancellery in Berlin). Solo exhibitions at Knoedler galleries in New York and in Paris. During summer, Nay paints watercolours in Mykonos. Futher solo exhibitions, including a special exhibit of drawings and watercolours at the "I. Internationale der Zeichnung" in Darmstadt.

1965 Starts the work period of the "Späte Bilder" (1965–1968). During summer, Nay creates watercolours in Crete. Solo exhibitions at Günther Franke in Munich and at Holst Halvorsen Gallery in Oslo. Nay prints the aquatint series "Über den Menschen" at Georges Visat in Paris.

Around 1964 – Nay in front of his studio house in Bavaria 1965 – Printing with George Visat in Paris
1966 › 1968

1966 Travels to Morocco, New York, Los Angeles, Hawaii, Japan, and Hong Kong. Large retrospective exhibition at the Württembergische Kunstverein in Stuttgart.

1967 Solo exhibition of recent paintings at Galerie Günther Franke in Munich and Galerie im Erker in St. Gallen. Prints four lithographs at Erker-Presse. Solo exhibitions at the Akademie der Künste in Berlin, the Städtische Kunsthalle Mannheim, and at the Museum des 20. Jahrhunderts in Vienna. Paints watercolours in Ronchi, Italy, in the summer. Receives the Grand Cross of Merit of the Federal Republic of Germany.

1968 In February, last trip to Berlin for the Uhlmann exhibition. Completion of the layouts for the huge ceramic mural "Keramisches Wandbild" for the Nuclear Research Center Karlsruhe (330 x 935 cm, workshop: Jörg von Manz). In early April, he creates his last painting "Weiss-Schwarz-Gelb".

On 8 April 1968 Ernst Wilhelm Nay dies of heart failure at his studio house in Cologne.

1967 – Nay with Jean Cassou in Galerie im Erker, St. Gallen 1967 – Nay in his studio 1968 – In the studio

CATALOGUE RAISONNÉ

Ernst Wilhelm Nay is one of the most important artists belonging to the second generation of Modern Art. With his oeuvre spanning the figurative to the abstract, he builds a bridge from Expressionism to the free setting of colour, which he mastered in the highest order. In his late paintings, which even allow for associations with the figurative, the circle of this virtuosic oscillating work between figuration and abstraction closes. Within all its abstraction, in Nay‘s oeuvre man stands at the centre.

Nay’s work on paper is much greater in number than that of his paintings, with over 6,000 watercolours, gouaches, and drawings. As independent creations of equal rank, they embody something akin to the “diaries” of his artistic ideas he brought tirelessly to paper. In their almost serial variety and range of variations, they allow for interesting conclusions concerning Nay‘s working process, and together with the oil paintings, document the artist‘s development, striving and aspirations.

OEUVRE

Early Paintings 1922 › 1933

Nay’s early paintings are stages of his self-identification process as an artist. They are self-taught pictures of landscapes and portraits reflecting his environment. The painting “Bildnis Franz Reuter”, 1925, was the first testimony to his extraordinary talent for modulations of space and colour. It became obvious already at that time that Nay was not interested in naturalistic or psychological depiction, but searching for the pictorial essence. His aptitude for abstraction becomes evident in details of his paintings.

In order to understand the first intuitive steps towards his own style, one should take into consideration his naïve, passionate but at the same time disciplined personality as well as his being born into a family of Prussian civil servants. His childhood and youth were overshadowed by Word War I. When he was twelve years old, he lost his father, who fell in Belgium in 1914. Shortly afterwards, he was sent to “Schulpforta”, which at the time was one of the best boarding schools in Germany. There he finished his high school diploma. His mother, a war widow alone with six children and destitute due to rampant inflation in the aftermath of the war, has no sympathy for her son’s desire to become a painter. Nay who works as a bookshop assistant, movie extra and in other odd jobs in order to earn money, uses every opportunity to paint in his free time.

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In the evenings he attends an art class for nude sketching. He finally presents his “Bildnis Franz Reuter” to Carl Hofer who recognizes his talent immediately and gives him a grant to attend his art class at the Berlin Academy. For the first time Nay is exposed to an artistic milieu, but given the completely different vision and direction of his teacher, he does not feel encouraged and nurtured. During the three years period at the Academy, he appears to lose sight of his own artistic instincts. Having become the star pupil of Hofer, he leaves the Academy in 1928.

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Paintings of Dunes and Fishermen 1934 › 1936

After the early 1930s, which were influenced by Surrealism, Nay – searching for a new form of expression – experiments with mythical animal paintings in 1934, before turning to painting dunes and fishermen. The observation of animals leads to the primal question: To what extent are human beings different from animals? As a result of this exploration, Nay finds himself as a painter, leading to the (for him) singular subject of animal paintings. Symbolic forms such as the circle, representing the sun or the moon, but also the colour brown in contrast to rose and red or the grey-blue of the sky indicate the cosmic character of Nay’s painting of that time. The colours are contrasted evenly, accompanied by black linear structures, which add to the abstraction of the animal forms.

A further elementary experience is manifested in Nay’s “Dünenbilder” (paintings of dunes), created in 1935. Inspired by the summers he spent at the Baltic Sea where he lived the simple life of the fishermen, contemplating the permanent movement of the waves, Nay discovers an archetypal dynamic. Even in pre-historic times wave- and snakelike curves with their alternating up- and downswings were seen as the symbol of the eternal movement of death and rebirth. Following an impulse, Nay uses these shapes of movement for his “Dünenbilder” and nocturnal seascapes. By narrowing the colour range and focussing on the contrast between bright and dark colours, he emphasises the formal flow of the movement.

In numerous reed pen drawings of 1935 – 1936, translating the coming and going of the boats and their activities into freely structured lines, Nay prepares his “Fischerbilder” (paintings of fishermen).

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In these paintings again the dynamic, the movement of the waves, also the contrasting vertical motion of the boat masts and sails, are the major elements. In addition, there is a typical strong expressive quality of colour, which is represented by light and dark shades of blue, a dark red and a cool pink as well as warm brown colours and black and white. The fishermen on the boats are sketched with round or triangle head forms.

These paintings imply severity, but also naivety. Some aspects manifest the brilliant talent of a young painter candidly and passionately; a painter who despite being outcast and without hope of public recognition in politically difficult times, relentlessly pursues his goal of finding himself.

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Paintings of the Lofot Islands 1937 › 1938
and paintings of 1939

Due to the fact that the Nazis were taking control of the cultural agenda, those uncompromising artists who did not bow to the pressure to conform, found themselves increasingly in distress. Nay was among them. Ten of his works were confiscated from museums and two of his paintings were shown in the exhibition “Entartete Kunst” (degenerate art). In addition to the financial worries of these years, there was psychological pressure.

The artistic freedom and liberal atmosphere of Berlin was destroyed, contacts were intermitted, exhibitions forbidden and friends – such as Ernst Gosebruch and C.G. Heise – were dismissed from their positions as directors of the museums in Essen and in Lübeck as early as 1933. Nobody knew for how long this time of depression and injustice would last. It was his friend C.G. Heise who helped Nay to cope with his isolation and desperation. Heise wrote to his friend Edward Munch and asked him to give this young talented painter the opportunity to stay in Norway. In summer 1937 Nay was able to travel to Oslo, visited Munch in Skøjen and travelled along the coast to the Lofot Islands north of the Arctic Circle. He was confronted with a type of nature which matched his own. It was at that time that his talent for colour was fully developed and manifested in his “Lofoten”-paintings.

In abstract watercolours freely translating the monumentality of the landscape, Nay prepares his “Lofoten”-paintings which he will finish later upon his return to his Berlin studio. With the money he had earned from an exhibition of these “Lofoten” watercolours, organized by Edward Munch’s art dealer Holst Halvorsen in the winter of 1937, Nay is in a position to return to Norway again in 1938.

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He boldly replaces clouds by strongly coloured patches so that the blue of the sky loses its background function in relation to the other colours. Human figures become expressively coloured signets; landscapes and figures are equal elements of his chromatic artwork. Nay, who categorizes painters into hunters, fishermen and farmers, always considers himself as a fisherman.

This bountiful harvest documented in his “Lofoten”-paintings and watercolours cannot only be considered as his first artistic climax but also as a demonstration of mental concentration and unperturbed by conditions hostile to art. Once more, in 1938, Nay manages to travel abroad, to the Black Sea in Bulgaria. Due to the outbreak of World War II however, he had to shorten his stay – therefore his artistic gain was minimal. Nay works in Berlin on small-scale paintings of figures. In these beach scenes a change in his colour range becomes noticeable: mild shades of light yellow, ochre and pink; an introversion following the extroversion of the “Fisher”- and “Lofoten”-paintings. The theme of people in motion is dissolved into a rhythmic-dynamic abstraction.

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Works painted in France 1940 › 1944

In 1940 Nay is a soldier in the German infantry, initially based in Southern France, later transferred to the small town of Auray in Britanny. There he meets the art collector Hans Lühdorf (1910-1983), who organizes Nay’s transfer to become a map drawer for a unit based in Le Mans in 1942, shortly before Nay’s unit was ordered to Russia.

In his rare spare time, Nay secretly works on small watercolours; forerunners of a cycle of gouaches and small oil paintings which in their density and miniature richness are an expression of a sense of freedom despite his confined existence.

Most of these works depict scenes of legendary subjects in which abstract figures are involved in tragic or fateful experiences beyond their personal existence. Titles such as “Eduards Tod” (Eduard’s Death), “Der Einsame” (The Lonesome), “Der Engel” (The Angel), or “Aenors Hochzeit” (Aenor’s Wedding) reflect the simultaneity of the presence of death and the abundance of life. The shapes of the heads are strangely formed with eyes closed – marked as one line – and remind of skulls.

A contrast to these mementi mori is the harmoniously balanced and warm colour range of these paintings, for which Nay for the first time chooses yellow as the dominant colour, combining it with a bright red thereby achieving a luminous and lively quality. The burning of these fire colours is softened by a range of browns and greens.

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In order to bridge compositional gaps to avoid a sense of perspective, Nay invents repeating, alternating chess board patterns. In numerous small-scale drawings, Nay practices his new compositional technique, which is fully developed in his gouaches and a few of his oil paintings.

It is in Le Mans that Nay recognizes a further ambiguity of his situation. In his home country he is an outcast, a “degenerate” artist, here he experiences the support, friendship and unexpected appreciation of his art by French intellectuals in whose circle he was introduced by Hans Lühdorf. The amateur sculptor Pierre de Térouanne provides his studio in which Nay can work undisturbed in his spare time. He also provides heating material as well as necessary painting utensils.

The words of hope and confidence which Nay addresses to Günther Franke in 1939, shortly before the outbreak of World War II, were proven right: “It has always been my strong belief that I shall not cease to exist before I have done my work.”

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Hekate-Paintings 1945 › 1948

Shortly after the end of he war Nay leaves the army as a lance corporal in May 1945. Berlin is in ruins, his home destroyed. He finds temporary accommodation in Hofheim, a small town in the Taunus near Frankfurt am Main; where he has friends. Soon he moves into an abandoned artist studio and starts painting again. For Nay the end of the war means the long awaited freedom to continue his work without disruption of Nazi terror and the war. The shock and horror of the past, the psychological as well as the physical devastation of the country and personal experiences of what the war took away mature in his imagination to be expressed in his paintings as abstract metaphors. Variations of the same form vocabulary of circles, spirals, chess board patterns and hand forms are obviously woven into coded figure and landscape associations in his “Hekate”-paintings.

Eruptive or muted, in thick oil layers, a dark or pastel chromatic range reflects the tragedy of the “Hekate”-paintings and rising hopes in the postwar period. In his artistic mastery all distress is dissolved. The fact that Nay, who consciously lives in the presence, suddenly chooses titles for his paintings referring to greek myths e.g. “Sibylle”, “Prometheus”, “Eurydike”, “Theseus” or the bible, such as “Jakobsleiter” (Jacob’s Ladder), “Lots Weib” (Lot’s Wife) etc., bear witness to the artist’s confrontation with the supra-individual experience of human life. Since Nay first titles his paintings when they are finished, the “Hekate”-paintings are not to be interpreted as illustrations of mythical legends but point to a deeper origin hidden in their beauty.

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Nay’s long standing friend and mentor, Ernst Gosebruch – former director of the Folkwang-Museum in Essen, dismissed by the Nazis in 1933 – titles Nay’s cycle of paintings created in this period after the war “Hekate”-paintings, referring to the painting “Tochter der Hekate” (Hekate’s daughter).

They become surprisingly well known and understood in their originality and charismatic expression following a series of exhibitions in a short period of time. In these tense and eventful postwar years, having just escaped the chaos of the past, the audience sensitively perceives the currency of the topics of these paintings.

n his first public speech at the opening of his 1946 Munich exhibition Nay states:

“Painting means to form a painting from colour because colour is the life of painting, expression of the originality which has been regained.”

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Fugale Paintings 1949 › 1951

“Paintings are not created in a vacuum”, so Nay. They express the artist’s historic and personal influences in an analogous and metaphorical manner. If his “Hekate” paintings can be seen as his way of getting over the war and postwar years, his “Fugale” Paintings signal the renaissance of his art. Due to his second marriage in 1949, his personal circumstances are also subject to a change.

In the summer of 1949 Nay works in Worpswede on a series of ten colour lithographs. This technique forces him to split up his vocabulary into single elements, broken down by colours in order to transfer them onto the litho stones to be reassembled again in the final print.

This analysis and synthesis, resulting from the process of printing, inspire Nay to work on a formal transformation of his art. Clearly outlined bow shapes are drawn like arabesques, aligned with points and triangles thereby replacing the coded, mythical shapes of the “Hekate”-paintings. The colour range is bright without shadows, then again painted in warm ochre brown tones. The title of this series to which Nay often adds the prefix “figurale” indicate that his art is – despite its increasing abstraction – dealing with human themes.

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The quite often shown image of a reclining woman caused these series to additionally be called “Odalisken” paintings. Nay however does not address this theme in an objective, literary manner but bases his approach on fugues, known as the musical theme of repetition and reversal. He chooses forms and shapes, transforms and reverses them so that his arrangements appear “fugal”. By using this title, Nay emphasizes the abstract element of his composition.

These were the years when the virtues of non-objective versus objective art were passionately discussed. Nay’s 1949-1951 paintings are at the crossroads of non-objective and objective art and yet at the time they seemed so unusual and exotic, that they were mostly not understood by the art public. Nay’s resolve to pursue his artistic vision shows that he was not irritated by his critics but accepted resistance as a challenge, leading him to intensify his efforts to produce many courageous, large-scale paintings.

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Rhythmic Period 1952 › 1953

In October 1951 Nay leaves Hofheim and moves into a modest top floor apartment in Cologne, a city still scarred by the damages of the war. After having moved from his rural domicile into the lively, urban postwar euphoria of the city on the Rhine Nay reacted with a new liberalized style, finally completely free of any objective elements.

This series is marked by a strongly moving rhythm expressed in small single and combined coloured shapes, accompanied by a beat of light, mainly black linear structures.

The musicality in these paintings is confirmed by titles chosen in these years: “Vokalklang” (Vocal Sound), “Silbermelodie” (Silver Melody), “Blaue Takte” (Blue Beats), “Synkopen” (Syncopes), “Swing”, “Lobgesang” (Song of Praise) etc.

Direct musical inspiration were notable concerts of new music which not only introduces him to classics such as Schönberg, Webern, Bartok, Strawinsky, Hindemith etc., but also to the progressive music of Boulez, Nono, Stockhausen etc. Many parallels between contemporary painting and music were attested in conversations with the composers.

Another change becomes visible in the contours of the now no longer clearly outlined colour shapes. They are transformed into pointed, indented edges,

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inspired by his manual work on a series of wood-cuts which Nay starts in 1951. This technique of cutting wood leads to frayed zigzag curves. Nay’s formal imagination transfers this manual experience into his pictorial inventions.

Although Nay declined the offered position as academy professor several times, in 1953 he accepted to lecture at the Hamburger Kunsthochschule for two months as a guest professor. He took teaching very seriously and considered it as a challenge to put order into his reflections on his own work. The result of this temporary teaching part was his theoretical manifesto “Vom Gestaltwert der Farbe”, published 1955 in Munich.

First trips to neighbouring countries in Europe such as Holland, France, England, Switzerland and Italy opened his eyes to the new renaissance of European art, which endorsed his paintings.

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Disc-Paintings 1954 › 1962

When asked what made him introduce the shape of a disc into his paintings, Nay answered that the natural spread of colour in the process of painting for him is the circle. When he tries to widen the initial spot of colour on the canvas, his hand instinctively leads the brush in circular movements resulting in a disc shape. This simple experience, gained from manual craft, becomes his principle – leading to a brilliant simplification of his art.

In his paintings of 1954 Nay contrasts the round shape of a disc with rectangular chainlike forms or bright-dark chess board patterns. In 1955 the disc, in all its variations, becomes the central motive of his art. In a series of 1955/56, Nay abandons all angular, sharp-edged shapes. In crystal clear bright colours he composes large and small discs and their intermediate shapes into a vivid colour choreography. The white of the canvas does not remain as background but becomes equally important to the composition.

The floating spiritual character of these paintings is created by an unusually light and flowing touch of the brush. The watercolour technique with its special transparency, mastered by Nay to perfection, is additional inspiration for his oil paintings. In the autumn of 1956, Nay paints his largest disc painting – “Das Freiburger Bild” - (“The Freiburger painting”, measuring 2,55 x 6,55 meters / 100 1/3 x 258 inches) – for the Institute of Chemistry at the University of Freiburg. Working on one of his most notable paintings, Nay returns to the full sensual tone of a polyphonic colour range.

1961

In 1957 and 1958 Nay spends a few months in Paris printing colour aquatints. He rents a studio and besides working on these prints he is stimulated by the light of Paris, which is reflected in a glowing richness of colour in his oil paintings. This intensity of colour is maintained over the following years.

His exhibitions in New York, in 1956 at the Biennale in Venice and in 1958 in Brussels, result in increasing international recognition. However, he is not tempted to rest on his laurels: in 1961 he begins to develop a new way of approaching his art. In large-scale paintings he vehemently crosses out individual disc formations with bold brush strokes. This spontaneous crossing out of disc shapes – the central idea to his art for so many years – opens the way for a new powerful and dramatic composition, culminating in his new focus on “eyes” in 1963.

Nay, who was always reluctant when it came to interpreting his metaphors, had committed himself to a theoretical motivation of his art in his manifesto “Vom Gestaltwert der Farbe”. Surprisingly, the following comment was found in his manuscripts in 1963: “The circle as a geometrical form is not interesting for the painter, unless it is the symbolic shape for the rotation of the universe.”

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Paintings with the motive of Eyes 1963 › 1964

With his so called “Augenbilder” Nay opens a new chapter, which throughout his oeuvre is evident, but now arises with more impact: the expression.

This new tendency towards increasing expressionism began to manifest itself in the large-scale paintings of previous years when Nay tried to change the lineaments of his disc shapes with aggressive gestures. In the paintings created in 1963/1964 he paints pointed and oval spindle shapes horizontally or vertically over the discs, thereby creating his new focus of interest – the eye.

This primeval subject which combines looking and being looked at, and in archetypal symbols signifies magical and spellbinding powers but also symbolizes light and spirituality, constitutes a considerable challenge for Nay’s non-objective approach to art. However, he does not refrain from the association with magical powers but balances the effect of his large scale eye shapes with a dramatic, abstract symbolic language, allowing his chromatic scale to dramatically unfold. Nay brings all categories of strong colour contrasts as well as the emphasis of bright and dark contrasts into this dialogue and thus increases the vitality and freedom of his compositions. Nevertheless, despite this newly won and high-spirited artistic freedom, there is a controlled order in the details of the overall composition of these paintings.

1963

The public fiercely discusses Nay’s new paintings. His three major large-scale works, each measuring 4 x 4 meters (157 ½ x 157 ½ inches) and unusually exhibited – hanging from the ceiling – at the Documenta III, Kassel in 1964 initiate a heated debate in the press. Further notable exhibitions in New York and Paris (1964, M. Knoedler & Co.), in Frankfurt am Main, Hamburg, Munich, Karlsruhe und Münster enhance the publicity for his “Augenbilder”.

The change of times in the mid sixties, exploration of the orbit, political tensions in the United States and in Europe as well as the first signals of environmental concerns are all treated and indirectly reflected in Nay’s “Augenbilder”.

CR 1128
Late Paintings 1965 › 1968

Being at the pinnacle of his creative power, Nay re-examines his art for a last clarification. His review leads him to a radical simplification of his forms and to a reduction of his colour range. With all his energy and discipline he has the courage to abandon the expressive structure of his “Augenbilder” and to realize the essence of his vision by reduction. Clearly outlined spindle shapes, chains of round and oval discs, bow shapes as well as coloured ribbons are vertically spread over the canvas. By giving it a vertical emphasis, the impression of a seemingly unlimited transitory movement is created.

The striking repetition of certain prominent patterns such as the stripe, the doubling or tripling of large-scale spindles or a chain of discs invite the viewer to count the actual number of shapes. By doing this, Nay introduces the number as a hidden system of his composition. Nay defines the repetition of individual colours in the same order as “arithmetic” colouring. For Nay the arithmetic number represents the counterpart and surrender of the geometrical space. In conversations and manuscripts, Nay gives a particular importance to the number, not as a numerical entity but as a cabalistic-methodical stimulant for his choice of colour. Intuitively, he picks up the central element of the dawning computer age, which is based on numbers. Although this paradigm shift in science was not yet visible or explicable by using images, Nay transposes his presentiments into his paintings.

1967

Cool, supremely simple colour arrangements dominate his late pictures. A particularly dominant role is given to the colour White, which is no longer applied with a brush but is the remnant of the white canvas. This is how Nay integrates the colour White into the two-dimensionality of the surface. Also in the forms of his late work Nay finds a new quality of expression. The shape of the swelling double-spindle which appears to stretch and to contract could be interpreted as a metaphor for breathing and thereby for life. Some paintings show organic, others anthropomorphic elements. The generosity and simplicity of these paintings characterize the intensity and spirituality, which are the hallmark of Nays late work.

“It is worth a lifetime to progress so far that the real colour painting can be created and the colour is such that – without the artist’s specific intent – aspects of humanity and creaturely become visible in a new, unknown formulation.” (Nay, October 1967)

CR 1303

LIBRARY

  • Solo Exhibitions

  • Group Exhibitions

  • Bibliography

  • Film

  • Museums

  • Galleries

The following corresponds to the list of solo exhibitions in volume 2 of the catalogue raisonné of watercolours, gouaches, and drawings, and thus represents a selection. It is continuously edited and supplemented periodically toward a most complete overview of all of Nay‘s solo exhibitions.

1937
Berlin: Ausstellungsraum Karl Buchholz. Ernst Wilhelm Nay – Bilder (Doppelausstellung mit: Hermann Scheuernstuhl. Skulpturen und Zeichnungen; 16. März – 10. April) – Faltblatt

1946
Berlin: Galerie Gerd Rosen. E. W. Nay (Mai) – Faltblatt

München: Galerie Günther Franke. E. W. Nay (Okt.) – Faltblatt

1947
Düsseldorf: Galerie Alex Vömel/ Kunstkabinett Hans Trojanski. Ernst Wilhelm Nay (Jan. – Feb.) – Faltblatt

Köln: Galerie Dr. Werner Rusche. Ernst Wilhelm Nay. Bilder, Gouachen, Zeichnungen (März)

Hamburg: Kunstverein in Hamburg. E. W. Nay. Gemälde, Aquarell, Guasch [sic], Zeichnung (Juni) = Lübeck: Overbeck-Gesellschaft (10. Aug. – 7. Sept.) – Faltblatt

1948
Köln: Galerie Dr. Werner Rusche. E. W. Nay. Bilder des Jahres 1947 (Feb. – März) – Katalog

Berlin: Galerie Franz. Ernst Wilhelm Nay (Mai) – Katalog

München: Galerie Günther Franke. Ernst Wilhelm Nay (Okt. – Nov.) – Faltblatt

1949
Mannheim: Städtische Kunsthalle. E. W. Nay – Fritz Winter. Abstrakte Malerei (Doppelausstellung; 8. Jan. – 6. Feb.)

Köln: Galerie Dr. Werner Rusche. E. W. Nay. Neue Bilder (15. März – 30. April) – Faltblatt

1950
Hannover: Kestner-Gesellschaft. E. W. Nay (Retrospektive; 2. April – 7. Mai) – Katalog

1951
München: Galerie Günther Franke. Ernst Wilhelm Nay. Bilder 1950/51, Aquarelle, Zeichnungen (April – Mitte Mai) – Faltblatt

1952
Berlin: Haus am Waldsee. E. W. Nay. Arbeiten der Jahre 1924–1952 (Retrospektive; 17. Mai – 15. Juni) – Katalog

1953
Düsseldorf: Kunstverein für die Rheinlande und Westfalen. E. W. Nay. Ölgemälde, Aquarelle und Graphiken (4. April – 3. Mai) = Lübeck: Overbeck-Gesellschaft (17. Mai – 21. Juni) = Bremen: Kunstverein in Bremen in der Kunsthalle Bremen (Juli – Aug.) = Frankfurt a. M.: Frankfurter Kunstverein Steinernes Haus (13. Sept. – 5. Okt.) – Faltblatt

Freiburg i. Br.: Kunstverein Freiburg. Ernst Wilhelm Nay (Retrospektive; Mai) – Katalog

1954
Köln: Galerie Der Spiegel. Ernst Wilhelm Nay. Bilder, Gouachen, Aquarelle und Zeichnungen von 1927 bis 1954 (13. Nov. – 15. Dez.) – Faltblatt

1955
Düren: Leopold-Hoesch-Museum. Ernst Wilhelm Nay. Gemälde und Aquarelle (17. Jan. – 13. Feb.)

Hamburg: Kunstverein in Hamburg (3. April – 2. Mai)

Hannover: Kestner-Gesellschaft. E. W. Nay. Gemälde, Aquarelle, Zeichnungen 1951 – 1955 (6. April – 8. Mai) – Katalog

1958
Ulm: Museum der Stadt Ulm (29. Juni – 23. Juli)

1959
Düsseldorf: Kunstverein für die Rheinlande und Westfalen. E. W. Nay (Retrospektive; 9. Jan. – 15. Feb.) – Katalog

Krefeld: Kaiser-Wilhelm-Museum, Graphisches Kabinett. Ernst Wilhelm Nay (14. Juni – 2. Aug.) – Hektographierte Ausstellungsliste

München: Galerie Günther Franke. E. W. Nay. Aquarelle, Gouaches [sic], Zeichnungen (30. Aug. – 7. Okt.) – Faltblatt

Köln: Galerie Der Spiegel. Ernst Wilhelm Nay (ab 7. Nov.) – Katalog, „geh durch den spiegel“ Folge 19/1959

1960
Frankfurt a. M.: Frankfurter Kunstkabinett Hanna Bekker vom Rath. E. W. Nay. Gemälde, Aquarelle, Zeichnungen von 1932 bis heute (13. April – 14. Mai) – Katalog

1961
Nürnberg: Fränkische Galerie. Ernst Wilhelm Nay. Gemälde, Aquarelle, Zeichnungen und Graphik 1935–1960 (10. Jan. – Mitte Feb.) – Faltblatt

München: Galerie Günther Franke im Arco-Palais. E. W. Nay. Handzeichnungen, Aquarelle (Mitte Okt. – Ende Nov.) – Faltblatt

1962
Essen: Folkwang Museum. E. W. Nay. 60 Jahre (Retrospektive; 15. Sept. – 21. Okt.) – Katalog

Berlin: Galerie Springer. E. W. Nay. 1945–1962. Bilder, Gouachen, Aquarelle, Zeichnungen (25. Sept. – 21. Okt.) – Katalog

Lübeck: Overbeck-Gesellschaft. Ernst Wilhelm Nay. Zeichnungen, Aquarelle, Lithographien, Aquatinten, Farbholzschnitte aus den Jahren 1938–1962 (4. Nov. – 2. Dez.)

1963
Baden-Baden 1963: Galerie Dr. Ernst Hauswedell. Ernst Wilhelm Nay. Aquarelle, Zeichnungen, Graphik aus den Jahren 1947 bis 1963 (22. Aug. – 30. Sept.)

1964
Darmstadt: Mathildenhöhe Darmstadt. I. Internationale der Zeichnung. Sonderausstellung Ernst Wilhelm Nay (12. Sept. – 15. Nov.) – Katalog

1966
Stuttgart: Württembergischer Kunstverein. E. W. Nay (Retrospektive; 12. Nov. – 25. Dez.) = Berlin: Akademie der Künste (13. Jan. – 12. Feb. 1967) = Mannheim: Städtische Kunsthalle (4. März – 16. April 1967) – Katalog

1967
Wien: Museum des 20. Jahrhunderts. E. W. Nay (Retrospektive; 15. April – 15. Mai) – Katalog

St. Gallen: Galerie im Erker. Ernst Wilhelm Nay (25. Nov. – 31. Jan. 1968) – Katalog

1969
Köln: Wallraf-Richartz-Museum. E. W. Nay (Retrospektive; 18. April – 8. Juni) = Berlin: Nationalgalerie (20. Juni – 28. Juli) = Frankfurt a. M.: Städelsches Kunstinstitut (8. Aug. – 21. Sept.) = Hamburg: Kunstverein in Hamburg (4. Okt. – 16. Nov.) – Katalog

Bielefeld: Kunsthalle. Richard Kaselowsky-Haus. Nay. Aquarelle (Retrospektive; 23. Juni – 3. Aug.) = Saarbrücken: Saarland Museum (18. Aug. – 21. Sept.) – Katalog

1972
Köln: Kölnischer Kunstverein. Nay (28. Okt. – 7. Jan. 1973) = Bremen: Kunsthalle Bremen (4. Feb. – 18. März 1973) – Katalog

1973
München: Galerie Günther Franke. 50 Jahre Galerie Günther Franke. Nay. Bilder, Aquarelle, Gouachen, Zeichnungen, Graphik aus Sammlung und Galerie Günther Franke (20. Okt. – 22. Dez.) – Katalog und Katalogbuch

1975
Köln: Galerie Orangerie-Reinz. Ernst Wilhelm Nay. Gemälde, Gouachen, Zeichnungen, Graphiken (11. April – 31. Mai) – Faltblatt

Stuttgart: Kunsthaus Schaller KG. Ernst Wilhelm Nay. Die Druckgraphik. (24. April – 20. Mai)

1976
Frankfurt a. M.: Galerie Herbert Meyer-Ellinger. E. W. Nay – Das kleine Format. Zeichnungen aus Le Mans 1942–44 und Hofheim 1945–51 (26. Sept. – 6. Nov.) – Katalog

Höchst: Jahrhunderthalle Hoechst. Nay – Zeichnungen (Retrospektive; (26. Sept. – 24. Okt.) = Kassel: Neue Galerie (11. Dez. – 30. Jan. 1977) = Tübingen: Kunsthalle Tübingen (18. Feb. – 20. März 1977) = Köln: Galerie Der Spiegel (1. Juli – 15. Aug. 1977) = Detmold: Lippische Gesellschaft für Kunst, Schloß Detmold (16. Okt. – 13. Nov. 1977) – Katalog

1977
München: Staatliche Graphische Sammlung. Ernst Wilhelm Nay. Aquarelle und Gouachen (Retrospektive; 15. Sept. – 6. Nov.) = Karlsruhe: Staatliche Kunsthalle (10. März – 16. April 1978) – Katalog

1979
Frankfurt a. M.: Galerie Herbert Meyer-Ellinger. E. W. Nay. Arbeiten auf Papier: Skizzen – Aquarelle 1949–1967 (13. Okt. – 24. Nov.) – Katalog

1980
München: Galerie Schellmann & Klüser. E. W. Nay – Arbeiten auf Papier 1948–1968 (26. Juli – 15. Sept.)

1981
Leverkusen: Städtisches Museum Schloß Morsbroich. E. W. Nay. Zeichnungen (Retrospektive; 26. März – 10. Mai) – Katalog

Köln: Galerie Orangerie-Reinz. Ernst Wilhelm Nay. 1902–1968 (1. Juni – 30. Sept.) – Katalog

1984
Berlin: Galerie Michael Haas. Ernst Wilhelm Nay. 1902–1968 (Sept. – Okt.) – Katalog

1987
Darmstadt: Galerie Sander. Ernst Wilhelm Nay. Ölgemälde, Aquarelle, Zeichnungen (11. Sept. – 30. Okt.) – Katalog

1990
Lübeck: Overbeck-Gesellschaft. Lofotenbilder (1. Juli – 2. Sept.) – Katalog

Köln: Museum Ludwig in der Josef-Haubrich-Kunsthalle. Ernst Wilhelm Nay Retrospektive (17. Nov. – 20. Jan. 1991) = Basel: Kunsthalle Basel (28. März – 20. Mai 1991) = Edinburgh: Scottish National Gallery of Modern Art (8. Juni – 21. Juli 1991) – Katalog

1991
London: Fischer Fine Art. Ernst Wilhelm Nay. 1902–1968. Paintings and Works on Paper (5. – 28. Juni) – Faltblatt

1992
Detmold: Lippische Gesellschaft für Kunst, Schloß Detmold. Ernst Wilhelm Nay. Gouachen 1942–67 (12. Juli – 23. Aug.)

1994
Frankfurt a. M.: Städtische Galerie im Städel. Ernst Wilhelm Nay. Die Hofheimer Jahre 1945–1951 (24. Feb. – 23. Mai) = Leipzig: Museum der bildenden Künste (9. Juni – 21. Aug.) – Katalog

Frankfurt a. M.: Galerie Herbert Meyer-Ellinger. E. W. Nay. Hekate (1945–1951). Ölbilder, Gouachen, Zeichnungen, Skizzen (17. März – 21. Mai)

1995
Weiden (Oberpfalz): Neues Rathaus. Ernst Wilhelm Nay. Arbeiten aus Privatbesitz (1. Okt. – 5. Nov.) – Faltblatt

1998
Berlin: Galerie Brusberg. Zwei Freunde: E. W. Nay und Hans Uhlmann. Bilder und Skulpturen (Doppelausstellung; 9. Mai – 18. Juli) – Katalog, Edition Brusberg, Kabinettdruck 6

Köln: Galerie Orangerie-Reinz. E. W. Nay (31. Okt. – 30. Jan. 1999) – Katalog

2000
Frankfurt a. M.: Frankfurter Kunstkabinett Hanna Bekker vom Rath. Ernst Wilhelm Nay – Hans Steinbrenner. Arbeiten aus Privatbesitz (Doppelausstellung; 5. Feb. – 25. März)

Emden: Kunsthalle in Emden. Stiftung Henri und Eske Nannen. E. W. Nay. Aquarelle, Gouachen, Zeichnungen (Retrospektive; 20. Mai – 9. Juli) = Saarbrücken: Saarland Museum (6. Aug. – 8. Okt.) – Katalog

2002
Frankfurt a. M.: Galerie Herbert Meyer-Ellinger. E. W. Nay. Werke auf Papier (12. März – 26. April)

Köln: Aurel Scheibler. Ernst Wilhelm Nay (26. April – 22. Juni)

München: Galerie Fred Jahn. E. W. Nay. Werke auf Papier 1942–1962 (14. Sept. – 18. Okt.)

Köln: Galerie Orangerie-Reinz. E. W. Nay 1902–1968 (30. Nov. – 25. Jan. 2003)

Frankfurt a. M.: Graphische Sammlung im Städelschen Kunstinstitut. E. W. Nay. Zeichnung und Druckgraphik aus der Graphischen Sammlung im Städel (12. Dez. – 23. Feb. 2003)

2004
München: Staatliche Graphische Sammlung. E. W. Nay. Aquarelle und Gouachen (7. Mai – 27. Juni) = Essen: Museum Folkwang (10. Juli – 12. Sept.) = Straßburg: Musée d' Art Moderne et Contemporain (8. Okt. – 9. Jan. 2005) – Katalog

Köln: Hubertus Melsheimer Kunsthandel. Ernst Wilhelm Nay (1902 – 1968). Ölgemälde – Auf Papier (28. Okt. – 8. Jan. 2005)

2007
Stuttgart: Galerie Schlichtenmaier. Ernst Wilhelm Nay. Organismus der Farben und Formen (4. Mai – 9. Juni) – Katalog

London: Karsten Schubert. Ernst Wilhelm Nay. Early Drawings – Late Paintings (15. Juni – 24. Aug.)

2008
Köln: Hubertus Melsheimer Kunsthandel. Ernst Wilhelm Nay (1902 – 1968). Arbeiten auf Papier (Doppelausstellung mit: Martin Willing, Skulpturen; 12. Sept. – 17. Okt.)

2009
Berlin: Aurel Scheibler. Ernst Wilhelm Nay. Späte Zeichnungen und Grauaquarelle (2. Mai – 13. Juni)

Halle/ Saale: Kunstverein "Talstrasse". Ernst Wilhelm Nay. Malerei und Grafik (17. Sept. – 15. Nov.) – Katalog

2010
München: Galerie Fred Jahn. Nay. Aquarelle und Gouachen 1941 – 1967 (7. Okt. – 5. Nov.) – Katalog

2011
Düren: Leopold-Hoesch-Museum. E. W. Nay im Peill- Forum (16. Jan. – 19. Juni)

2012
Köln: Michael Werner Kunsthandel. Ernst Wilhelm Nay. Arbeiten auf Papier. Works on Paper (26. Mai – 7. Juli) = New York: Michael Werner Gallery (7. Sept. – 19. Okt.) – Katalog

New York: Mary Boone Gallery / Michael Werner Gallery. Ernst Wilhelm Nay (7. Sept. – 6./ 27. Okt.) – Katalog

Bonn: Kunstmuseum. Ernst Wilhelm Nay. Das polyphone Bild. Gouachen, Aquarelle, Zeichnungen (Retrospektive; 20. Sept. – 3. Feb. 2013) = Appenzell: Museum Liner (17. März – 16. Juni 2013) = Goslar: Mönchehaus Museum (13. Juli – 29. Sept. 2013) – Katalog

The following corresponds to the list of group exhibitions in volume 2 of the catalogue raisonné of watercolours, gouaches, and drawings, and thus represents a selection. It is continuously edited and supplemented periodically toward a most complete overview of all group exhibitions showing works by Nay.

1926
Berlin: Preußische Akademie der Künste zu Berlin. Herbstausstellung (Nov. – Dez.) – Katalog

1927
Berlin: Preußische Akademie der Künste zu Berlin. Herbstausstellung. Aquarelle, Pastelle, Zeichnungen, Graphik, Plastik (Nov. – Dez.) – Katalog

1929
Berlin: Preußische Akademie der Künste zu Berlin. Herbstausstellung. Aquarelle, Pastelle, Zeichnungen, Graphik, Plastik (Okt. – Nov.) – Katalog

1936
Hannover: Kunstverein Hannover. 104. Große Frühjahrsausstellung (1. März – 14. April) – Katalog

1947
Dresden: Kunstausstellung Kühl. Werke von Hansheinrich Palitzsch, Ernst Wilhelm Nay, Karl Otto Götz und Hermann Glöckner (Sept.)

Baden-Baden: Kurhaus. L' Art Allemand Moderne. Deutsche Kunst der Gegenwart (Okt. – Nov.) – Katalog

1948
Frankfurt a. M.: Städtische Galerie im Städel. Sammlung Hagemann (26. Sept. – 30. Nov.)

1949
München: Central Art Collecting Point. Kunstschaffen in Deutschland (9. Juni – 17. Juli) – Katalog

1950
Hannover: Kestner-Gesellschaft. Der antike Mythos in der neuen Kunst (14. Mai – 25. Juni) – Katalog

1952
Brüssel: Palais des Beaux-Arts. L' expressionnisme dans le Musée Wallraf-Richartz de Cologne – Katalog

1954
Hannover: Kestner-Gesellschaft. Zeitgenössische Kunst aus Hannoverschem Privatbesitz (9. Mai – 13. Juni) – Katalog


Darmstadt: Hessisches Landesmuseum. Kunst unserer Zeit – Sammlung Karl Ströher (Juni – Sept.) = Kassel: Kulturhaus Ständeplatz, Kunstverein = Wiesbaden: Neues Museum, Nassauischer Kunstverein (10. Juli – 11. Sept. 1955) – Katalog

1955
Karlsruhe: Staatliche Kunsthalle Karlsruhe. Kunst unserer Zeit. Neuerwerbungen 1948 – Frühjahr 1955 (26. Feb. – 15. Mai) – Katalog

Basel: Kunsthalle Basel. Moderne Sammlung des Wallraf- Richartz-Museums Köln. Sammlung Dr. J. Haubrich (5. April – 15. Mai) – Katalog

Hamburg: Hamburger Kunsthalle. Neue Erwerbungen der Hamburger Kunsthalle 1945–1955 (Juli) – Katalog

Düsseldorf: Kunstverein für die Rheinlande und Westfalen. Sammlung Wilhelm Buller (24. Juli – Aug.) – Katalog

1956
Düsseldorf: Kunstverein für die Rheinlande und Westfalen. Düsseldorfer Kaufleute sammeln Moderne Kunst. Ausstellung zum 125-jährigen Bestehen der Industrie und Handelskammer zu Düsseldorf (25. Mai – 15. Juli) – Katalog


New York: Grace Borgenicht Gallery / Weyhe Gallery. German Watercolors, Drawings and Prints 1905–1955. A Mid-Century Review with loans from German Museums and Galleries and from the Collection Dr. H. Gurlitt Duesseldorf (ab 28. Mai) = Cambrigde: Busch-Reisinger Museum der Harvard University (Okt.) = San Francisco: M. H. de Young Memorial Museum (Wanderausstellung der American Federation of Arts und der Bundesrepublik Deutschland) – Katalog

Köln: Galerie Der Spiegel. Handzeichnungen (31. Mai – 30. Juni) – Faltblatt

Köln: Wanderausstellung des Kulturkreises im Bundesverband der Deutschen Industrie e.V. Deutsche Aquarelle und Zeichnungen seit 1900 (ab Sept.) – Katalog

1957
Halle (Saale): Staatliche Galerie Moritzburg. Von Menzel bis Picasso. Handzeichnungen und Graphik des 20. Jahrhunderts aus eigenen Beständen (7. April – 29. Juli) – Katalog (Schriftenreihe der Staatlichen Galerie Moritzburg, Halle, Heft 12)

Wiesbaden: Städtisches Museum, Gemäldegalerie. Moderne Kunst aus Wiesbadener Privatbesitz (10. Juli – 25. Aug.) – Katalog

1958
Hannover: Kunstverein Hannover. 119. Frühjahrsausstellung. Studie – Variation – Werk (23. März – 27. April) – Katalog

Recklinghausen: Städtische Kunsthalle. 20. Jahrhundert aus dem Besitz des Kunstmuseums Duisburg (26. April – 26. Mai) – Katalog

Köln: Wallraf-Richartz-Museum. Aquarelle und Handzeichnungen Sammlung Haubrich (Sept. – Okt.) – Katalog

Wuppertal: Kunst- und Museumsverein Wuppertal. Kunsthalle – Haus der Jugend, Wuppertal Barmen. Moderne Kunst in Wuppertaler Privatbesitz (12. Okt. – 9. Nov.) – Katalog

1959
Wiesbaden: Städtisches Museum. Kunst und Mythos. Sonderausstellung anläßlich der 9. Ausstellung des Deutschen Künstlerbundes (9. Mai – 5. Juni) – Katalog

1960
Baden-Baden: Staatliche Kunsthalle. Deutscher Künstlerbund. Aquarelle, Zeichnungen, Plastik (6. Aug. – 2. Okt.) – Katalog

München: Städtische Galerie im Lenbachhaus. Sammlung Günther Franke (9. Sept. – 20. Nov.) – Katalog

1962
München: Haus der Kunst. Entartete Kunst – Bildersturm vor 25 Jahren (25. Okt. – 16. Dez.) – Katalog

1963
Hannover: Kunstverein Hannover. Die Pelikan-Kunstsammlung aus dem Besitz des Hauses Günther Wagner, Hannover, Pelikan-Werke und der Familie Beindorff. (28. April bis 16. Juni) – Katalog

1964
Kassel: Alte Galerie. documenta III – Handzeichnungen (27. Juni – 5. Okt.) – Katalog

1965
München: Städtische Galerie im Lenbachhaus. Die Pelikan-Kunstsammlung aus dem Besitz des Hauses Günther Wagner, Hannover, Pelikan-Werke und der Familie Beindorff. (8. Jan. bis 7. Feb.) = Stuttgart: Württem bergischer Kunstverein (13. März – 2. Mai) – Katalog

Hannover: Kunstverein Hannover. Sammlung Sprengel (10. Okt. – 28. Nov.) – Katalog

Detroit: The Detroit Institute of Arts: The John S. Newberry Collection. Watercolors, Drawings and Sculpture Selected from the John Stoughton Newberry Bequest and Gifts (13. Okt. – 14. Nov.) – Katalog

1966
Bremen: Galerie Michael Hertz. 30 Meisterzeichnungen von Picasso bis Matta (Mitte Dez. – 10. Feb. 1967) – Faltblatt

1967
Hamburg: Kunstverein in Hamburg. Meister der Zeichnung in der deutschen Kunst des 20. Jahrhunderts (2. Sept. – 15. Okt.) = Frankfurt a. M.: Frankfurter Kunstverein Steinernes Haus (bis 10. Dez.) – Katalog

1969
Hannover: Kunstverein Hannover. Moderne Kunst aus Privatbesitz in Hannover. (19. Jan. – 16. Feb.) – Katalog

Frankfurt a. M.: Frankfurter Kunstkabinett Hanna Bekker vom Rath. Meisterzeichnungen und Aquarelle des XX. Jahrhunderts (19. Nov. – 24. Dez.) – Katalog

1970
Darmstadt: Hessisches Landesmuseum Darmstadt. Bildnerische Ausdrucksformen 1910–1960. Sammlung Karl Ströher (24. April – 14. Juni) – Katalog

Stuttgart: Staatsgalerie Stuttgart. Die Handzeichnung der Gegenwart (5. Juni – 30. Aug.) – Katalog

Wiesbaden: Städtisches Museum. Kunst in Hessen 1945–1970 (16. Okt. – 29. Nov.) – Katalog

1971
Düsseldorf: Städtische Kunsthalle. Kunst des 20. Jahrhunderts – Freie Berufe sammeln (25. Juni – 15. Aug.) – Katalog

1972
Ulm: Museum und Kunstverein Ulm. Sammlung Kurt und Vera Deschler. Zeichnungen und Aquarelle (20. Feb. – 9. April) – Katalog

Braunschweig: Kunstverein Braunschweig – Haus Salve Hospes. Kunstsammlung Pelikan (19. März bis 30. April) – Katalog

Kassel: Kasseler Kunstverein. Die Moderne in Deutschland. Zeichnungen und Aquarelle aus dem Besitz hessischer Museen (5. Aug. – 15. Sept.) – Katalog

1974
Bonn: Rheinisches Landesmuseum. Kunst unserer Zeit. Neuerwerbungen der letzten Jahre (27. März – 5. Mai) – Katalog

1975
Berlin: Akademie der Künste. Als der Krieg zu Ende war. Kunst in Deutschland 1945-1950 (7. Sept. – 2. Nov.) – Katalog

1976
München: Galerien Maximilianstrasse München. Handzeichnungen. Gemeinsame Ausstellung der Galerien in der Maximilianstrasse (1. April – 15. Mai) – Katalog


Köln: Wallraf-Richartz-Museum und Museum Ludwig. Ausstellung der Stiftung und Sammlung Günther und Carola Peill (12. Mai – 25. Juli) – Katalog

Berlin: Galerie Pels-Leusden. Das Liebespaar in der Kunst des 20. Jahrhunderts. Gemälde, Pastelle, Aquarelle, Handzeichnungen, Graphik und Plastik (22. Nov. – 22. Jan. 1977) – Faltblatt

1978
Aachen: Suermondt Ludwig Museum. Klassiker der Moderne. Bilder aus Privatbesitz (ab 5. Nov.; Dauerausstellung) – Katalog

1980
Lübeck: Museum für Kunst- und Kulturgeschichte. Die Künstlerfreunde Carl Georg Heises. Meisterwerke der Graphik 1900–1950 (Mai) – Katalog

1981
Essen: Galerie Neher. Gemälde, Aquarelle, Graphik von Otto Dix, HAP Grieshaber, Erich Heckel, Joan Miró, E. W. Nay, Christian Rohlfs, Karl Schmidt-Rottluff (ab Mai) – Katalog

Ludwigshafen am Rhein: Wilhelm-Hack-Museum. Sammlung Lütze II. Kunst des 20. Jahrhunderts aus Süddeutschland (23. Aug. – 4. Okt.) – Katalog

1982
Berlin: Galerie Pels-Leusden. Der Mensch und die Arbeit (30. Aug. – 6. Nov.) – Katalog

1983
Düsseldorf: Galerie Vömel. 33 Zeichnungen. Handzeichnungen des 20. Jahrhunderts (1. Feb. – Ende März) – Katalog

Berlin: Akademie der Künste. Grauzonen – Farbwelten. Kunst und Zeitbilder 1945–1955 (20. Feb. – 27. März) – Katalog

Köln: Museum Ludwig. Stiftung Günther und Carola Peill Köln 1983 (23. Feb. – 10. April) – Katalog

München: Museum Villa Stuck. Hommage à Günther Franke (1. Juli – 18. Sept.) – Katalog

Frankfurt a. M.: Frankfurter Kunstverein, Steinernes Haus am Römerberg. Kunst nach 45 aus Frankfurter Privatbesitz (7. Okt. – 27. Nov.) – Katalog

London: Goethe-Institut London. The Art of German Drawing II – 20th Century Drawings (21. Okt. – 13. Dez.) – Katalog

1984
Berlin: Galerie Pels-Leusden. Schwebend – Heiter. Gemälde, Pastelle, Aquarelle, Zeichnungen, Graphik, Skulpturen und Objekte (30. Jan. – 24. April) – Katalog

Berlin: Galerie Pels-Leusden. Edwin Redslob zum 100. Geburtstag (6. Sept. – 6. Okt.) – Faltblatt

Höchst: Jahrhunderthalle Hoechst. Privatbesitz Hofheim. Sammlung Hanna Bekker vom Rath (14. Okt. – 21. Nov.) = Leverkusen: Erholungshaus der Bayer AG (10. März – 14. April 1985) – Katalog

1985
Bremen: Graphisches Kabinett W. Werner KG. Accrochage (März – April)

Bremen: Kunsthalle Bremen. Kunst des 20. Jahrhunderts aus privaten Sammlungen im Lande Bremen (30. Juni – 15. Sept.) – Katalog

Baden-Baden: Staatliche Kunsthalle. Das Aquarell von Dürer bis Nay. Meisterwerke aus sechs Jahrhunderten aus dem Besitz der Kunsthalle Bremen (10. Aug. – 29. Sept.) – Katalog

1986
Köln: Galerie Orangerie-Reinz: 50er Jahre – Katalog

Oldenburg: Landesmuseum für Kunst und Kulturgeschichte. Das Tier in der Kunst – Katalog

1987
Essen: Galerie Neher. Blickpunkte VI (22. Feb. – 24. April) – Katalog

Essen: Galerie Neher. Blickpunkte. Deutsche Kunst im 20.Jahrhundert (ab 20. Sept.) – Katalog, Band 1

1988
Essen: Galerie Neher. Die Kunst der Aquarelle (1920–1987) (28. Feb. – 29. April) – Katalog

Essen: Galerie Neher. Deutsche Kunst in den 50er und 60er Jahren. Graphiken, Aquarelle, Gemälde, Skulpturen (12. Juni – 27. Aug.) – Katalog

München: Staatliche Graphische Sammlung München. Zeichenkunst der Gegenwart. Sammlung Prinz Franz von Bayern (21. Sept. – 18. Dez.) – Katalog

London: Goethe Institut London. The Art of German Drawing VI – Willi Baumeister, Ernst Wilhelm Nay, Werner Heldt, Richard Oelze (4. Nov. – 10. Dez.) – Katalog

1989
Hamburg: Hamburger Kunsthalle. Von Dürer bis Baselitz. Deutsche Zeichnungen aus dem Kupferstichkabinett der Hamburger Kunsthalle (10. März – 23. April) – Katalog

Köln: Museum Ludwig. Meisterblätter aus der Sammlung Josef Haubrich. Zum 100. Geburtstag des Sammlers (21. April – 2. Juli) – Katalog

Nürnberg: Museum Industriekultur Nürnberg. So viel Anfang war nie. Deutsche Städte 1945 bis 1949 (12. Mai – 20. Aug.) = Berlin: Hamburger Bahnhof (ab 13. Okt.) = Fulda: Museum Fulda (1990) – Begleitbuch

Köln: Galerie Orangerie-Reinz. 30 Jahre Galerie Orangerie-Reinz 1959–1989 (23. Sept. – 31. Okt.) – Katalog

Bremen: Galerie Cornelius Hertz. Picasso, Nay, Böhm, Hertz (1. Dez. – 22. Dez.) – Faltblatt

1990
Darmstadt: Kunsthalle. Expressionistische Ansichten aus der Sammlung Hanna Bekker vom Rath (8. Juli – 9. Sept.) – Katalog Berlin: Kunsthandlung Pels-Leusden. 40 Jahre Kunsthandlung Pels-Leusden. Ausgewählte Werke (9. Sept. – 10. Nov.) – Katalog

1991
Essen: Galerie Neher. Bild Skulptur Raum. 11 deutsche Künstler in 11 Räumen (2. Feb. – 27. März) – Katalog

1992
Essen: Galerie Neher. Auf Papier. Deutsche Moderne von Ackermann bis Winter ( 25. Jan. – 7. März) – Katalog

Cambridge: Harvard Art Museums, Busch-Reisinger Museum. Aspects of Art in West Germany 1945–1965 (22. Aug. – 18. Okt.)

Ulm: Ulmer Museum. Sammlung Kurt und Vera Deschler – die ersten zwanzig Jahre (30. Aug. – 11. Okt.) = Stuttgart, Galerie Landesgirokasse (10. Nov. – 31. Dez.) – Katalog

1993
Düren: Leopold-Hoesch-Museum. Carola Peill zu Ehren. Die Sammlung der Günther-Peill-Stiftung (4. Juli – 12. Sept.) – Katalog

1994
Cambridge: Harvard Art Museums, Busch-Reisinger Museum. East Meets West: Postwar Prints and Drawings from the Two Germanies (14. Mai – 24. Juli)

1995
Frankfurt a. M.: Schirn Kunsthalle. Auf Papier. Kunst des 20. Jahrhunderts aus der Deutschen Bank (3. März – 30. April) = Berlin: Berlinische Galerie, Landesmuseum für Moderne Kunst, Photographie und Architektur (18. Mai – 2. Juli) = Leipzig: Museum der bildenden Künste (10. Aug. – 24. Sept.) – Katalog

Köln: Galerie Der Spiegel. 1945/1995 – Ein Rückblick auf 50 Ausstellungen. Bilder, Zeichnungen, Graphik, Bücher, Kataloge (5. Mai – 30. Juni)

Essen: Galerie Neher. PAPIER PUR. Klassische Moderne – Zeitgenössische Kunst (8. Sept. – 24. Okt.) – Katalog

1996
Frankfurt a. M.: Frankfurter Kunstverein. Have a good drawing! Die Sammlung Michael Loulakis (1. Dez. – 6. Jan. 1997) – Katalog

1997
München: Galerie Sabine Knust, Maximilian Verlag. Augenlust (20. März – 14. Mai) = Bielefeld: Bielefelder Kunstverein, Museum Waldhof (mit zusätzlichem Untertitel: Der Blick des Bildes. Zeichnungen, Skulpturen, Gouachen, Druckgraphik; 24. Mai – 6. Juli)


Ulm: Ulmer Museum. Sammlung Deschler, Ulm. Aquarelle, Zeichnungen und Holzschnitte der Moderne (21. Sept. – 9. Nov.) = Reutlingen: Städtisches Museum Spendhaus Reutlingen (6. Dez. – 18. Jan. 1998) = Karlsruhe: Badischer Kunstverein (25. Jan. – 8. März 1998) – Katalog

1998
Düsseldorf: Galerie Margret Heuser. Kunstwerke aus bedeutenden Privatsammlungen (17. – 28. Nov.) – Katalog

1999
Köln: Galerie Der Spiegel. BLEISTIFTZEICHNUNGEN II (12. März – 15. April)

Köln: Galerie Orangerie-Reinz. Arbeiten auf Papier (8. Mai – 30. Juni) – Katalog

Düsseldorf: Galerie Margret Heuser. Frühjahrausstellung 1999 (25. Mai – 30. Juni) – Katalog

Stuttgart: Staatsgalerie Stuttgart. Zeichnungen aus fünf Jahrhunderten – Eine Stuttgarter Privatsammlung (10. Juli – 19. Sept.) – Katalog

2000
Essen: Galerie Neher. Klassische Moderne – Zeitgenössische Kunst. Eine Gegenüberstellung (29. Okt. – 10. Jan. 2001) – Katalog

2001
München: Versicherungskammer Bayern. Von Dix bis Baumeister (1. Feb. – 21. April)

Davos: Galerie Iris Wazzau. Nichtfigurative Kunst. Ackermann, Boetti, Bott de Maria, Ebnöther, Francis, Hodgin, Liner, Nay, Tobey, Winter u.a. (17. Feb. – 14. April) – Faltblatt

Hofheim/ Ts.: Stadtmuseum Hofheim am Taunus. Refugium – Künstleraufenthalte in Hofheim und im Taunus (25. Nov. – 3. März 2002) – Katalog

2002
München: Galerie Maulberger. Klein – aber fein (7. März – 6. April) – Katalog

Köln: Hubertus Melsheimer Kunsthandel. August Macke (1887–1914) Späte Zeichnungen (18. Juni – 14. Sept.) – Katalog

Köln: Aurel Scheibler. Whisper (26. Juni – 31. Aug.)

München: Galerie Maulberger. Nay, Schumacher, Winter. Drei Positionen in der Kunst nach 45 (12. – 25. Okt. u. 6. – 20. Nov.) – Katalog

2003
Nürnberg: Germanisches Nationalmuseum. In den hellsten Farben. Aquarelle von Dürer bis Macke aus der Graphischen Sammlung des Germanischen Nationalmuseums (16. Okt. – 8. Feb. 2004) – Katalog

Berlin: Kunsthandel Wolfgang Werner KG. Kunst des 19. und 20. Jahrhunderts. Menzel, Liebermann, Modersohn-Becker, Belling, Schwitters, Feininger, Blumenthal, Nay, Baumeister (Dez. – 18. Feb. 2004)

2004
Grafenau: Galerie Schlichtenmaier. Klassische Moderne (28. März – 8. Mai) – Katalog

Berlin/ Bremen: Kunsthandel Wolfgang Werner KG. From Europe. Appel, Baumeister, Götz, Jorn, Nay, Schumacher, Sonderborg, Wotruba (Berlin 8. Mai – 17. Juli; Bremen 20. Nov. – 17. Dez.) – Katalog

Köln: Aurel Scheibler. ISONETHINGBETTERTHANANOTHER (16. Mai – 17. Juli)

Essen: Galerie Neher. Auf Papier (26. Juni – 27. Juli) – Katalog


Berlin: Galerie Brusberg. BilderRäume (1. Aug. – 31. Okt.)

Moskau: Staatliches Puschkin-Museum für bildende Künste. Aus deutscher Sicht. Meisterwerke aus der Sammlung Deutsche Bank (17. Nov. – 11. Jan. 2005) – Katalog

2005
Berlin: Deutsche Guggenheim. 25. Fünfundzwanzig Jahre Sammlung Deutsche Bank (30. April – 19. Juni) – Katalog

2006
München: Galerie Maulberger. Klein – aber fein III (27. April – 3. Juni) – Katalog

Tromsø: Nordnorsk Kunstmuseum. Fra Paris til Svolvær. Kunstnere i Lofoten i mellomkrigstiden (23. Sept. – 30. Dez.) – Katalog

München: Galerie Maulberger. Abstrakte Welten. Eintritt in eine neue Dimension der Bildsprache (9. Nov. – 25. Nov.) – Katalog

Düsseldorf: Galerie Schwarzer. 25 Jahre Galerie Schwarzer 1981–2006 (11. Nov. – 31. Jan. 2007) – Katalog

2007
Dresden: Kunstausstellung Kühl. Informel. Spielarten und Grenzbereiche (4. Feb. – 24. März) – Faltblatt

München: Galerie Maulberger. Papierstationen des 20. Jahrhunderts (25. Mai – 30. Juni) – Katalog

Hofheim/ Ts.: Kunstverein Hofheim und Stadtmuseum Hofheim am Taunus. Lieblingsbilder. Kunst nach 1945 aus Privatbesitz zwischen Main und Taunus (26. Aug. – 4. Nov.) – Katalog

Köln: Galerie Der Spiegel. Idée fixe (9. Nov. – 31. Dez.)

2008
Essen: Galerie Neher. Blickpunkte. Frühjahr/ Sommer 2008 (12. April – 25. Juni) – Katalog

Essen: Galerie Neher. Abstrakt, Konkret, Informel. Malerei, Skulptur (6. Sept. – 5. Nov.) – Katalog

Frankfurt a. M.: Städel Museum. Wasser, Farbe, Licht. Aquarelle der Graphischen Sammlung (2. Okt. – 10. Jan. 2009) – Katalog

Hofheim/ Ts: Stadtmuseum Hofheim am Taunus. Kunst grenzenlos. Die Ausstellungsreisen der Hanna Bekker vom Rath 1952–1967 (26. Okt. – 15. Feb. 2009) – Katalog


München: Galerie Maulberger. Klein – aber fein IV (4. Dez. – 17. Jan. 2009) – Katalog

Köln: Galerie Orangerie-Reinz. 50 Jahre Galerie Orangerie-Reinz 1959–2009 (9. Dez. – 7. März 2009) – Katalog

2009
Augsburg: Galerie Noah. Meisterwerke. Bilder, Zeichnung, Grafik (29. Mai – 19. Juli)

2010
Berlin: Kunsthandel Wolfgang Werner KG. Arbeiten auf Papier. Baumeister, Ernst, Klee, Léger, Nay, Bluhm, Fautrier, Hartung, Sonderborg, Tàpies, Thomkins, Wols (8. März – 24. April)

Hannover: Sprengel Museum. Liebesgeschichten – Sehnsucht, Hingabe und Erfüllung in Werken von Munch und Nolde bis Picasso (25. April – 15. Aug.) – Katalog

Emden: Kunsthalle in Emden. Stiftung Henri und Eske Nannen. Highlights. Meisterwerke der Sammlung (6. Juni – 5. Sept.)

Berlin: Dieter Brusberg Kunsthandel. Figur. Traum. Zeichen (17. Aug.– 6. Nov.)

2011
Köln: Hubertus Melsheimer Kunsthandel. Vielfalt Abstraktionen (5. Feb. – 30. März)

Murnau: Schloßmuseum. Bereitschaft zum Risiko. Lilly von Schnitzler. Sammlerin und Mäzenin (17. März – 26. Juni) – Katalog

Frankfurt a. M.: Museum Giersch. Expressionismus im Rhein-Main-Gebiet. Künstler, Händler, Sammler (3. April – 31. Juli) – Katalog

Köln: Michael Werner Kunsthandel. Die Farbe Blau (14. April – 30. Juli)

Berlin: Aurel Scheibler. Twenty (9. Sept. – 28. Okt.)

2012
Köln: Hubertus Melsheimer Kunsthandel. Das kleine Format. Impressionismus, Expressionismus, Klassische Moderne (5. Mai – 29. Juni) – Katalog

München: Galerie Maulberger. Klein – aber fein V. Bild und Poesie – eine Annäherung (29. Juni – 4. Aug.) – Katalog

Berlin: Aurel Scheibler. Entr' acte (12. Sept. – 17. Nov.)


Köln: Hubertus Melsheimer Kunsthandel. Weitsicht. Landschaftsbilder vom Expressionismus bis in die Gegenwart (8. Nov. – 12. Jan. 2013)

Berlin: Aurel Scheibler. FORM FARBE RAUM. Uhlmann, Baumeister, Kricke, Nay (7. Dez. – 23. Feb. 2013)

2013
Köln: Hubertus Melsheimer Kunsthandel. Auf Papier II. On Paper II. Kunst des 20. Jahrhunderts (27. April – 28. Juni) – Katalog

Ahrenshoop: Galerie Peters-Barenbrock. Berlin am Meer. Eine Hommage an Ahrenshoop. Bilder, Blätter, Skulpturen von 1918 – 2013 (30. Aug. – 28. Feb. 2014) – Katalog (= Edition Brusberg Berlin, Kabinettdruck 45, Berlin 2013)

Hofheim/ Ts: Stadtmuseum Hofheim am Taunus. Malerische Dialoge mit Hanna Bekker vom Rath (27. Okt. – 23. Feb. 2014) – Katalog

The following list corresponds to the Bibliography of volume 2 of the catalogue raisonné of watercolours, gouaches, and drawings, and thus represents a selection. It is continuously edited and supplemented periodically toward a most complete overview of all literature (excluding newspapers) on Nay‘s work.

Adolphs 2012
Volker Adolphs: Das grafische Element. In: Ernst Wilhelm Nay. Das polyphone Bild. AK Kunstmuseum Bonn. Bonn 2012, S. 59–61

Assmann 2000
Nicola Assmann: Ernst Wilhelm Nay. Große Netzzieher. Das Kunstwerk des Monats, November 2000. Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster. Münster 2000

Bell u. a. 2011
Katharina Bell, Anke Darrelmann, Nana Ludorff, Sophie von Scheel und Katharina Venz (Katalogbearbeitung): Ernst Wilhelm Nay. Frau und Hahn. In: Galerie Ludorff, Frühjahr 2011, Katalog 134. Düsseldorf 2011, S. 54/55

Berg 2012
Stephan Berg: Auf fließendem Sand. In: Ernst Wilhelm Nay. Das polyphone Bild. AK Kunstmuseum Bonn. Bonn 2012, S. 11–13

Borch 1986
Agnes von der Borch: Ernst Wilhelm Nay. In: "In der Zeichnung liegt die Wahrheit der Kunst." 100 Arbeiten auf Papier aus der Graphischen Sammlung des Museums Ludwig. Köln 1986, S. 146/147

Brisch 1957
Klaus Brisch: Ernst Wilhelm Nay. In: Deutsche Aquarelle und Zeichnungen seit 1900. AK Kulturkreis im Bundesverband der Deutschen Industrie. Köln 1957, S. 44/45

Brockhaus 1998
Christoph Brockhaus (Hrsg.): Zeichnungen. Wilhelm Lehmbruck Museum Duisburg. Bestandskatalog. Bearbeitet von Barbara Lülf. Duisburg 1998

Christ 2003
Oktavia Christ: Ernst Wilhelm Nay. Der Angler (Lofotenlandschaft). In: In hellsten Farben. Aquarelle von Dürer bis Macke aus der Graphischen Sammlung des Germanischen Nationalmuseums. AK Germanisches Nationalmuseum Nürnberg. Nürnberg 2003, S. 214/215

Claesges(-Bette) 2001
Magdalene Claesges(-Bette): Die Geburt des Elementaren Bildes aus dem Geist der Abstraktion. Versuch einer Deutung der theoretischen Schriften von Ernst Wilhelm Nay. Diss. Köln 2001

Deecke 2010
Thomas Deecke (Hrsg.): Leben mit der Kunst. Günther und Carola Peill. Berlin 2010

Delfs / von Lüttichau / Scotti 2004
Hans Delfs, Mario-Andreas von Lüttichau, Roland Scotti: Kirchner, Schmidt-Rottluff, Nolde, Nay… Briefe an den Sammler und Mäzen Carl Hagemann 1906–1940. Ostfildern-Ruit 2004

Edzard 1990
Imke Edzard: Zu Ernst Wilhelm Nays Lofotenbildern. In: Ernst Wilhelm Nay – Lofotenbilder. Zu Ehren von Carl Georg Heise (1890–1979). AK Overbeck-Gesellschaft Lübeck. Lübeck 1990, S. 22–25

Elly Nay 1984
Elly Nay: Ein strahlendes Weiß. Meine Zeit mit E. W. Nay. Berlin/ Köln 1984

Frosch 1994
Beate Frosch: Die Hekate-Bilder. In: Ernst Wilhelm Nay. Die Hofheimer Jahre 1945–51. AK Städtische Galerie im Städel, Frankfurt a. M./ Museum der bildenden Künste Leipzig. Frankfurt a. M. 1994, S. 17–27

Gabler 1976
Karlheinz Gabler: Beitrag in: Nay – Zeichnungen. AK Jahrhunderthalle Hoechst. Höchst 1976, S. 6–12 (weitere, nicht im Katalog aufgeführte Stationen siehe Ausstellungsverzeichnis)

GNM Nürnberg 1980
Ernst Wilhelm Nay 1902–1968. Bilder und Dokumente. Herausgegeben vom Archiv für Bildende Kunst am Germanischen Nationalmuseum Nürnberg. München 1980

Gohr 1981
Siegfried Gohr: Der Zeichner Ernst Wilhelm Nay. In: E. W. Nay – Zeichnungen. AK Städtisches Museum Leverkusen, Schloss Morsbroich. München 1981, S. 5–31

Gohr 1992
E. W. Nay. Postkartenbuch mit Einführung, Chronologie, Bilderläuterungen und Auswahlbibliographie von Siegfried Gohr. Die bibliophilen Taschenbücher 652. Dortmund 1992

Gohr 2000
Siegfried Gohr: Augenlust und Experiment – Ernst Wilhelm Nay und das Aquarell. In: E. W. Nay. Aquarelle, Gouachen, Zeichnungen. AK Kunsthalle in Emden/ Saarland Museum Saarbrücken. Ostfildern-Ruit 2000, S. 13–23

Grigoteit 2001
Ariane Grigoteit: Ernst Wilhelm Nay 1902–1968. Uhrturm II, 1946. In: Ein Jahrhundert One Century. 100 x Kunst, 100 x Art. Sammlung Deutsche Bank. Frankfurt a. M. 2001, S. 98/99

Haasis / Imsiecke / Pophanken 1986
Friederike Haasis, Christine Imsiecke, Andrea Pophanken: Ernst Wilhelm Nay 1902–1968. Männer mit Kuh, 1946. In: AK Landesmuseum Oldenburg. Oldenburg 1986, Kat.-Nr. 40 (o. S.)

Händler 1956
Gerhard Händler: Deutsche Maler der Gegenwart. Berlin 1956

Haftmann 1960
Werner Haftmann: E. W. Nay. Köln 1960

Haftmann 1991
Werner Haftmann: E. W. Nay. Köln 1991 (erweiterte Neuausgabe)

Haverkamp 2006
Frode Haverkamp: Ernst Wilhelm Nay. Brev fra Lofoten. In: Fra Paris til Svolvær. Kunstnere i Lofoten i mellomkrigstiden. AK Nordnorsk Kunstmuseum Tromsø. Tromsø 2006, S. 115–120

Heckmann 2000
Stefanie Heckmann: Ernst Wilhelm Nay. Frau in der Landschaft, Hofheim i. T., 1946. In: Mit Pinsel, Feder und Stift. Meisterzeichnungen der Graphischen Sammlung. Staatliche Museen Kassel, Schloss Wilhelmshöhe. Wolfratshausen 2000, S. 208/209

Heckmann (Hirte) 2000
Stefanie Heckmann: Ernst Wilhelm Nay. Der Hirte, Hofheim i. T., 1948. In: Mit Pinsel, Feder und Stift. Meisterzeichnungen der Graphischen Sammlung. Staatliche Museen Kassel, Schloss Wilhelmshöhe. Wolfratshausen 2000, S. 210/211

Herzog 1973
Erich Herzog: Zur Einführung. In: Die Moderne in Deutschland. Zeichnungen und Aquarelle aus dem Besitz hessischer Museen. Jahresgabe der Hessischen Brandversicherungsanstalt für 1974. Kassel 1973 (o. S.)

Hess 1956
Walter Hess: Ernst Wilhelm Nay. In: Die Kunst und das schöne Heim. Monatszeitschrift für Malerei, Plastik, Graphik, Architektur und Wohnkultur. 54. Jahrgang. München 1956, S. 248–251

Hohl 1989
Hanna Hohl: Ernst Wilhelm Nay. Weiblicher Akt, 1947. In: Von Dürer bis Baselitz. Deutsche Zeichnungen aus dem Kupferstichkabinett der Hamburger Kunsthalle. AK Hamburger Kunsthalle. Hamburg 1989, S. 242

Holler 1988
Wolfgang Holler: Ernst Wilhelm Nay. In: Zeichenkunst der Gegenwart. Sammlung Prinz Franz von Bayern. AK Staatliche Graphische Sammlung München. München 1988, S. 130–132

Honisch 1979
Dieter Honisch: Die Nationalgalerie Berlin. Recklinghausen 1979

Keller 1980
Harald Keller: Die Sammlung Carl Georg Heise. In: Die Künstlerfreunde Carl Georg Heises. Meisterwerke der Graphik 1900–1950. AK Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck. Hamburg 1980, S. 8–20

Klee 2006
Alexander Klee: Adolf Hölzel und die Wiener Secession. München 2006

Krause 1995
Markus Krause: Galerie Gerd Rosen. Die Avantgarde in Berlin 1945–1950. Berlin 1995

Küster 2012
Ulf Küster: Gedanken zum Verhältnis von Malerei und Zeichnung bei Ernst Wilhelm Nay. In: Ernst Wilhelm Nay. Das polyphone Bild. AK Kunstmuseum Bonn. Bonn 2012, S. 15–17

Lesebuch 2002
E. W. Nay – Lesebuch. Selbstzeugnisse und Schriften 1931–1968. Bearbeitet von Magdalene Claesges. Köln 2002

Lühdorf (Manuskript) 1944
Hans Lühdorf: Meine Begegnung mit E. W. Nay im Krieg. Als Ganzes unveröffentlichtes Manuskript (zitiert nach einer 32-seitigen Maschinenabschrift). In Auszügen abgedruckt in: GNM Nürnberg 1980 (s. o.), S. 78–87

Lüttichau 1994
Mario-Andreas von Lüttichau: Fugale Bilder – Balance zwischen Ordnung und Bewegung. In: Ernst Wilhelm Nay. Die Hofheimer Jahre 1945-1951. AK Städtische Galerie im Städel, Frankfurt a. M. 1994, S. 105–115

Moeller / Rotermund 2003
Moeller & Rotermund Kunsthandel: Ernst Wilhelm Nay. In: Klassische Moderne. Moeller & Rotermund Kunsthandel, Hamburg. Hamburg 2003, S. 18/19

Müller-Remmert 2008
Eva Müller-Remmert: Beitrag in: Blickpunkte. Frühjahr/ Sommer 2008. AK Galerie Neher, Essen. Essen 2008, S. 43

Nay-Scheibler 1977
Elisabeth Nay-Scheibler: Über Nay’s Aquarellmalerei. In: Ernst Wilhelm Nay. Aquarelle und Gouachen. AK Staatliche Graphische Sammlung München. München 1977 (o. S.)

Nay-Scheibler (Farbtafeln) 1977
Elisabeth Nay-Scheibler: Textbeiträge auf einzelnen Farbtafeln zum Katalog der Ausstellung: Ernst Wilhelm Nay. Aquarelle und Gouachen. AK Staatliche Graphische Sammlung München. München 1977 (o. S.)

Nay-Scheibler 1979
Elisabeth Nay-Scheibler: Sehhilfen zu den Arbeiten. In: E. W. Nay. Arbeiten auf Papier: Skizzen – Aquarelle 1949–1967. AK Galerie Herbert Meyer-Ellinger, Frankfurt a. M. Frankfurt a. M. 1979 (o. S.)

Nay-Scheibler 1983
Elisabeth Nay-Scheibler: Über die Nay-Sammlung. In: Stiftung Günther und Carola Peill Köln 1983. AK Wallraf-Richartz-Museum, Köln. Köln 1983, S. 12/13

Nay-Scheibler (Fugale Bilder) 1990
Elisabeth Nay-Scheibler: Fugale Bilder 1949–1951. In: Aurel Scheibler: Ernst Wilhelm Nay. Werkverzeichnis der Ölgemälde. 2 Bde. Köln 1990. Bd. 1, S. 294

Nay-Scheibler (Rhythmische Bilder) 1990
Elisabeth Nay-Scheibler: Rhythmische Bilder 1952–1953. In: Aurel Scheibler: Ernst Wilhelm Nay. Werkverzeichnis der Ölgemälde. 2 Bde. Köln 1990. Bd. 2, S. 6

Nay-Scheibler 1993
Elisabeth Nay-Scheibler: Hommage. In: Carola Peill zu Ehren. Die Sammlung der Günther-Peill-Stiftung. AK Leopold-Hoesch-Museum Düren. Düren 1993, S. 18/19

Nay-Scheibler 1994
Elisabeth Nay-Scheibler: Die Titel der Hekate-Bilder. In: Ernst Wilhelm Nay. Die Hofheimer Jahre 1945–51. AK Städtische Galerie im Städel, Frankfurt a. M./ Museum der bildenden Künste, Leipzig. Frankfurt a. M. 1994, S. 69–75

Nay-Scheibler 2000
Elisabeth Nay-Scheibler: Aquarelle und Gouachen von Nay – wann, wo und wie sie entstanden sind. In: E. W. Nay. Aquarelle, Gouachen, Zeichnungen. AK Kunsthalle in Emden/ Saarland Museum Saarbrücken. Ostfildern-Ruit 2000, S. 25–33

Ohlsen 2000
Nils Ohlsen: Ballett der Linien – E. W. Nay als Zeichner. In: E. W. Nay. Aquarelle, Gouachen, Zeichnungen. AK Kunsthalle in Emden/ Saarland Museum Saarbrücken. Ostfildern-Ruit 2000, S. 35–41

Otterbeck 2011
Christoph Otterbeck: Ernst Wilhelm Nay (1902–1968). Taunus, 1939. In: Expressionismus im Rhein-Main-Gebiet. Künstler, Händler, Sammler. AK Museum Giersch, Frankfurt a. M. Petersberg 2011, S. 372/373

Pée 1977
Herbert Pée: Notizen zu Aquarellen und Gouachen von Nay. In: Ernst Wilhelm Nay. Aquarelle und Gouachen. AK Staatliche Graphische Sammlung München. München 1977 (o. S.)

Pfeiffer 2009
Ingrid Pfeiffer: E. W. Nay. Gegenwärtigkeit und Zeitlosigkeit. In: E. W. Nay – Bilder der 1960er Jahre. AK Schirn Kunsthalle, Frankfurt a. M./ Haus am Waldsee, Berlin. München 2009, S. 7–17

Pogany / Venz / Ziegenrücker 2007
Veronika Pogany, Katharina Venz, Sabine Ziegenrücker: Ernst Wilhelm Nay 1902–1968. Najaden, 1949. In: Wege der Abstraktion, AK Galerie Ludorff, Düsseldorf. Düsseldorf 2002, S. 50–51

Pohl-Ströher / Ströher / Pohl 1982
Erika Pohl-Ströher, Ursula Ströher, Gerhard Pohl (Hrsg.): Karl Ströher. Sammler und Sammlung. Ferpicloz (Eigenverlag) 1982

Puvogel 1978
Renate Puvogel: Nay, Ernst Wilhelm. In: Klassiker der Moderne. Bilder aus Privatbesitz. AK Suermondt Ludwig Museum Aachen. Aachen 1978, S. 19/20

Rugo 1990
Jacqueline Rugo: Ernst Wilhelm Nay. In: 40 Jahre Kunsthandlung Pels-Leusden. Ausgewählte Werke. AK Galerie Pels-Leusden, Berlin. Berlin 1990, S. 118/119

Salmen / Lenz 2011
Brigitte Salmen, Christian Lenz: Ernst Wilhelm Nay. In: „Bereitschaft zum Risiko“. Lilly von Schnitzler 1889–1981. Sammlerin und Mäzenin. AK Schlossmuseum Murnau. Murnau 2011, S. 150–159

Schicktanz 1995
Claudia Schicktanz: Paolo und Francesca. In: Auf Papier. Kunst des 20. Jahrhunderts aus der Deutschen Bank. AK Schirn Kunsthalle, Frankfurt a. M./ Berlinische Galerie, Landesmuseum für moderne Kunst, Photographie und Architektur, Berlin/ Museum der bildenden Künste Leipzig. Ostfildern 1995, S. 224/225

Schmidt, D. 1970
Doris Schmidt (Hrsg.): Briefe an Günther Franke, Porträt eines deutschen Kunsthändlers. Köln 1970

Schmidt, H. 1997
Hans M. Schmidt (Hrsg.): Die Graphische Sammlung des 20. Jahrhunderts im Rheinischen Landesmuseum Bonn. Köln 1997

Schmidt, S. M. 2013
Sabine Maria Schmidt: Ernst Wilhelm Nay. 1902–1968. Gläsergarten, 1945. In: Auf Papier II. AK Hubertus Melsheimer Kunsthandel, Köln. Köln 2013 (o. S.)

Schmied 1987
Wieland Schmied: Ernst Wilhelm Nay. In: Galerie Ludorff, Düsseldorf, Katalog 47. Düsseldorf 1987, S. 186/187

Schreier 2012
Christoph Schreier: Im Fluss der Bilder. Werk und Werkentwicklung bei Ernst Wilhelm Nay. In: Ernst Wilhelm Nay. Das polyphone Bild. AK Kunstmuseum Bonn. Bonn 2012, S. 19–21

Schütt 2008
Jutta Schütt: Wasser, Farbe, Licht. In: Wasser, Farbe, Licht. Aquarelle der Graphischen Sammlung. AK Städel Museum, Frankfurt a. M. München 2008, S. 9–21

Schwarz 2010
Isabelle Schwarz: Liebe als letzter Funke eines erloschenen Humanismus. Ernst Wilhelm Nay, Henry Moore und Fernand Léger. In: Liebesgeschichten. Sehnsucht, Hingabe und Erfüllung in Werken von Munch und Nolde bis Picasso. AK Sprengel Museum Hannover. Hannover 2010, S. 133–136

Scotti 2012
Roland Scotti: Blicke – Über das Sehen von Farben und Formen. In: Ernst Wilhelm Nay. Das polyphone Bild. AK Kunstmuseum Bonn. Bonn 2012, S. 115–117

Semff 2004
Michael Semff: Körperliche Substanz – Geistige Formgestalt. In der Verbrennung zur Einheit. In: E. W. Nay. Aquarelle und Gouachen. AK Graphische Sammlung München/ Museum Folkwang Essen/ Musée d' Art Moderne et Contemporain, Strasbourg. Köln 2004, S. 11–23

Stonard / Kort 2012
John-Paul Stonard, Pamela Kort: Ernst Wilhelm Nay. London 2012

Stonard 2012
John-Paul Stonard: Abstrakte Welten. In: Ernst Wilhelm Nay. AK Michael Werner Kunsthandel, Köln. Köln 2012 (o. S.)

Sumowski 1999
Werner Sumowski: Ernst Wilhelm Nay. Tänzerin. In: Zeichnungen aus fünf Jahrhunderten. Eine Stuttgarter Privatsammlung. AK Staatsgalerie Stuttgart. Stuttgart 1999, S. 257

Sundheimer 1996
Florian Sundheimer: Ernst Wilhelm Nay. In: Marion Grčić-Ziersch Kunsthandel, München. Katalog 1996. München 1996, S. 32

Teschner 2007
Ursula Teschner: E. W. Nay. In: Lieblingsbilder. Kunst nach 1945 aus Privatbesitz zwischen Main und Taunus. AK Kunstverein Hofheim e. V. und Stadtmuseum Hofheim am Taunus. Hofheim/Ts. 2007, S. 71–73

Thiemann 1984
Eugen Thiemann (Hrsg.): Museum am Ostwall Dortmund. Kunst des 20. Jahrhunderts. Die Sammlung – Bilder, Plastiken, Objekte, Environments. Dortmund 1984

Töpper 2006
Barbara Töpper: Ernst Wilhelm Nay. In: Leidenschaft Papier. Klassische Moderne. Thole Rotermund Kunsthandel, Katalog No. 1. Hamburg 2006/07, S. 42/43

Trier 1956
Eduard Trier: Zeichner des XX. Jahrhunderts. Berlin 1956

Uhr 1987
Horst Uhr: The Collections of the Detroit Institute of Arts: German Drawings and Watercolors Including Austrian and Swiss Works. New York 1987

Usinger 1956
Ernst Wilhelm Nay – Aquarelle. Mit einer Einführung von Fritz Usinger. München 1956

Usinger 1961
Fritz Usinger: Ernst Wilhelm Nay. Monographien zur rheinisch-westfälischen Kunst der Gegenwart, Bd 21. Herausgegeben vom Kultusministerium des Landes Nordrhein-Westfalen. Recklinghausen 1961

Vey 1977
Horst Vey (Schriftleitung): Jahrbuch der Staatlichen Kunstsammlungen in Baden-Württemberg, Bd. 14. München 1977, S. 177/178

Vögele 2001
Katja Vögele: Metamorphose eines Themas: Von 'Der Besuch', 1945 bis 'Die Lampe', 1949. In: Ernst Wilhelm Nay – Die Druckgraphik. AK Kunstverein Göttingen/ Städtisches Kunstmuseum Spendhaus Reutlingen. Göttingen 2001, S. 22–24

Vowinckel 1976
Andreas Vowinckel: E. W. Nay – Zeichnungen 1942 bis 1951. In: Ernst Wilhelm Nay. Das kleine Format. AK Galerie Herbert Meyer-Ellinger, Frankfurt a. M. Frankfurt a. M. 1976 (o. S.)

Weber 2006
Carolin Weber: Ernst Wilhelm Nay. Ohne Titel 1947. In: Klein – aber fein III. AK Galerie Maulberger, München. München 2006, S. 24 und S. 28

Weber 2007
Carolin Weber: Ernst Wilhelm Nay. Frühlingsvotiv 1947. In: Papierstationen des 20. Jahrhunderts. AK Galerie Maulberger, München. München 2007, S. 32

Weltzien 2003
Friedrich Weltzien: E. W. Nay – Figur und Körperbild. Kunst und Kunsttheorie der vierziger Jahre. Berlin 2003

Weskott 2000
Hanne Weskott: Ernst Wilhelm Nay. In: Zeitzeichen. Ein Überblick über die Kunst und Architektur der Victoria-Hauptverwaltung in Düsseldorf. Düsseldorf 2000, S. 172–175

Wilckens 1972
Leonie von Wilckens (Redaktion): Anzeiger des Germanischen Nationalmuseums 1971/72. Hrsg. von Arno Schönberger u. a. Nürnberg 1972

Wilckens 1976
Leonie von Wilckens (Redaktion): Anzeiger des Germanischen Nationalmuseums 1976. Arno Schönberger zu seinem 60. Geburtstage am 19. November 1975 gewidmet. Nürnberg 1976

Winter 1984
Ernst Michael Winter (Hrsg.): Landschaft. Ein Bildband mit Aufnahmen von Ulrich Mack und Texten von Dr. Ursula Uber. Hamburg 1984

Wirnitzer 1986
Galerie Elfriede Wirnitzer (Hrsg.): Mit Stift und Pinsel X. Baden-Baden 1986

Zahn 1947
Leopold Zahn (Schriftleitung): Das Kunstwerk. Eine Zeitschrift über alle Gebiete der bildenden Kunst. Doppelheft 8/9, 1946–47. Baden-Baden 1946

Ziegenrücker 2002
Sabine Ziegenrücker: Ernst Wilhelm Nay. Najaden 1949. In: Ernst Wilhelm Nay zum 100. Geburtstag. Galerie Ludorff. Katalog 106. Düsseldorf 2002, S. 8–9

Film

In 2011, Michael Blackwood produced the film The Artist’s Studio: E. W. Nay
in an English and a German version.

For details, please visit:
www.michaelblackwoodproductions.com/artm_nay.php and
www.michaelblackwoodproductions.com.

Suermondt-Ludwig-Museum, Aachen

Stedelijk Museum, Amsterdam, Niederlande

Museum Liner, Appenzell, Schweiz

Kunstmuseum Basel, Schweiz

Nationalgalerie Berlin

Kunsthalle Bielefeld

Indiana University Art Museum,
Bloomington, IN, USA

Museum Bochum

Kunstmuseum Bonn

Rheinisches Landesmuseum, Bonn

Kunsthalle Bremen

Musées royaux des Beaux-Arts de Belgique, Brüssel, Belgien

Albright-Knox-Gallery, Buffalo, NY, USA

Busch-Reisinger Museum, Cambridge, MA, USA

Hessisches Landesmuseum, Darmstadt

The Detroit Institute of Arts, Detroit, MI, USA

Museum am Ostwall, Dortmund

Staatliche Kunstsammlungen Dresden

Leopold-Hoesch-Museum, Düren

Kunstsammlung Nordrhein-Westfalen,
Düsseldorf

Museum Kunstpalast, Düsseldorf

Wilhelm Lehmbruck-Museum, Duisburg

Folkwang Museum, Essen

Städelsches Kunstinstitut, Frankfurt a. M.

Städtisches Museum Gelsenkirchen

Karl Ernst Osthaus Museum, Hagen

Staatliche Galerie Moritzburg, Halle

Kunsthalle Hamburg Sprengel Museum,
Hannover

Wadsworth Atheneum, Hartford, CT, USA

Pfalzgalerie Kaiserslautern

Staatliche Kunsthalle Karlsruhe

Neue Galerie Kassel

Museum Ludwig, Köln

Kaiser Wilhelm Museum, Krefeld

Museum der Bildenden Künste Leipzig

Lentos Kunstmuseum Linz, Österreich

Tate Modern, London, Großbritannien

Wilhelm-Hack-Museum, Ludwigshafen a. Rh.

Museum der für Kunst und Kulturgeschichte der Hansestadt Lübeck

Landesmuseum Mainz Städtische Kunsthalle Mannheim

Milwaukee Art Museum, Milwaukee, WI, USA

Städtisches Museum Abteiberg, Mönchengladbach

Bayerische Staatsgemäldesammlungen, München

Westfälisches Landesmuseum, Münster

The Museum of Modern Art, New York, NY, USA

The Solomon R. Guggenheim Museum,
New York, NY, USA

Germanisches Nationalmuseum, Nürnberg

Landesmuseum Oldenburg

Nasjonalmuseet, Oslo, Norwegen

Centre Pompidou, Paris, Frankreich

Saarlandmuseum, Saarbrücken

The Saint Louis Art Museum, Saint Louis, MO, USA

Staatsgalerie Stuttgart

Museum Wiesbaden

Museum Moderner Kunst, Wien, Österreich

Städtische Galerie Wolfsburg

Von der Heydt-Museum, Wuppertal

Michael Werner

Köln
Gertrudenstraße 24–28
50667 Köln
Deutschland

Tel.: +49 221 92 54 620
Fax: +49 221 92 54 622
contactcologne@michaelwerner.de



Aurel Scheibler

Schöneberger Ufer 71
10785 Berlin
Deutschland

Tel.: +49 30 25 93 86 07
Fax: +49 30 25 93 86 08
office@aurelscheibler.com

 

Berlin
Märkisch Wilmersdorf
Alte Parkstraße 3c
14959 Trebbin
Deutschland
Tel.: +49 33731 32 01-0
Fax: +49 33731 32 01-2
galeriewerner@michaelwerner.de

 

London
22 Upper Brook Street
London W1K 7PZ
England

Tel.: +44 207 495 6855
Fax: +44 207 495 6857
london@michaelwerner.com



Galerie Fred Jahn

Werke auf Papier

Maximiliansreaße 10
80539 München
Deutschland

Tel.: +49 89 22 07 14
Fax: +49 89 22 15 41
info@fredjahn.com

 

New York
4 East 77th Street
New York, NY 10075
USA

Tel.: +1 212 988 1623
Fax: +1 212 988 1774
info@michaelwerner.com

FOUNDATION

  • Objectives

  • Team

  • Projects

In September 2005, the Ernst Wilhelm Nay Foundation was accepted as an independent
foundation under the civil law of the district government of Cologne.

The purpose of this Foundation is the continuing promotion of Nay’s art through exhibitions
and publications as well as the maintenance of museum standards and support of the scientific
editing of the estate.

While these tasks had been solely in the hands of the artist’s widow, now the care of
the artistic heritage has been taken over by the Foundation, to be continued after the death of
the foundress.

Board of Directors

Elisabeth Nay-Scheibler, Chair
Aurel Scheibler, Vice Chair
Christian A. J. Klein, Managing Director

Board of Trustees

Dr. Magdalene Claesges, Ernst Wilhelm Nay Foundation, Cologne
Prof. Dr. Siegfried Gohr, Cologne
Dr. Angela Lampe, Centre Pompidou, Paris
Prof. Dr. Christiane Lange, Staatsgalerie Stuttgart, Stuttgart
Dr. Ingrid Pfeiffer, Schirn Kunsthalle, Frankfurt a. M.
Isabel Pfeiffer-Poensgen, Kulturstiftung der Länder, Berlin
Dr. Frank Spieker, Essen

Catalogue Raisonné of Works on Paper by Ernst Wilhelm Nay

The Ernst Wilhelm Nay Foundation initiated the publication of the catalogue raisonné of watercolours, gouaches, and drawings by E.W. Nay, in three volumes by Hatje Cantz Verlag. Supported by the widow of the artist, Dr. Magdalene Claesges edited the extensive catalogue of works.:

Werkverzeichnis

Volumes 1 and 2
Available – information obtainable
from the Hatje Cantz Verlag.

More info »


Volume 3

To be published in autumn 2017.

The catalogue raisonné of Nay‘s works on paper will provide a lasting overview of Nay’s work for art historical research, the art trade, and interested art lovers, and will help facilitate the understanding of Nay‘s art. At the same time, it will help to secure his works against forgery.

Since numerous works on paper are not yet registered, we kindly ask all owners of Nay’s watercolours, gouaches, and drawings to contact us so that we can send our questionnaire for registration. All information provided will be kept strictly confidential. If required, the questionnaire can be downloaded and printed directly from this page. PDF form »

Our thanks go to all who support this important research endeavour.