Where to See Ernst Wilhelm Nay

Ernst Wilhelm Nay's work can be found in numerous museum collections, primarily in Germany. Several institutions in Berlin hold examples of his art. These include the Brucke Museum, the Nationalgalerie, the Bauhaus Archive, the Brohan Museum, and the Kunstgewerbe (Museum of Decorative Arts). Other German cities with museums holding Nay's work are Bremen (Kunsthalle and Sammlung Bottcherstrasse), Cologne (Ludwig Museum and Wallraf-Richartz Museum), Essen (Folkwang Museum and Gesellschaft Kruppsche Gemaldesammlung), Hamburg (Kunsthalle and Museum für Kunst und Gewerbe), Hanover (Niedersachsisches Landesmuseum), Mannheim (Stadtische Kunsthalle), Munich (Bayerische Staatsgemaldesammlungen), Seebtill (Stiftung Ada und Emil Nolde), Karlsruhe (Museum beim Markt), and Wuppertal (Von der Heydt Museum). Outside of Germany, Nay's art can be seen at the MAK Austrian Museum of Applied Art/Contemporary Art in Vienna, Austria.

Ernst Wilhelm Nay (1902^[3]-1968^[3]) was a German artist known for his contributions to abstraction after the Second World War. Lists of monographs and catalogues raisonnés of graphic works do not include one for Nay. However, many general texts on 20th-century prints include him. Prints became more popular in Germany after 1919^[3], due to hyperinflation. As currency values crashed, art became a secure investment. Prints, being more affordable than paintings or sculptures, were accessible to a wider population. Some collectors bartered goods for prints. The multiple-image format of portfolios allowed artists to explore complex themes. Publishers produced deluxe and popular editions to accommodate different budgets. Before World War I, print runs typically numbered between ten and forty. Afterwards, editions rose to at least forty or fifty, sometimes reaching one hundred or more. Some artists, like Kirchner, preferred to print their own work to maintain quality control, resulting in smaller, less uniform editions. Other artists collaborated with professional printers for larger, more consistent editions. Critics saw the woodcut as a German art form, rooted in the past, that distinguished them from other nations.

Ernst Wilhelm Nay (1902^[3]-1968^[3]) was a German artist associated with Art Informel. His work gained importance in West Germany during the post-war period. Allied administrators and German museum officials promoted abstract art to suppress nationalistic themes, forms, and styles that the Nazis had previously exploited. Nay's expressive abstraction, along with that of ZEN49 and Emil Schumacher, helped to enforce a prohibition on specifically German subject matter. After World War II, many German artists embraced international styles, abstraction becoming a symbol of freedom and de-Nazification. Nay developed a colour system based on disk forms covering the canvas. His theories, detailed in his 1955^[3] book *Vom Gestaltwert der Farbe, Flasche, Zahl und Hythmus*, influenced Georg Baselitz. Nay's work is significant as part of a broader movement toward abstraction in post-war Germany, which rejected representational traditions linked to both Nazism and Soviet Realism.

Ernst Wilhelm Nay explored a range of materials and methods in his artistic practice. He is known to have worked with oil paint on transparent plastic sheets, such as rhodoid, in the 1930s and 1940s. Nay addressed the technical challenges of using these new materials, such as the risk of the colours peeling off. To combat this, he scratched numerous fine lines into the plastic surface to provide a key for the oil paint. He would then apply the paint, allowing it to be held within the crevices. In some works, Nay painted on both sides of the plastic sheet. This technique allowed him to create spatial effects through the relationships between colours and the real distance between them. He also experimented with different brush techniques to produce unusual textures. At times, instead of applying a solid layer of colour, he rubbed it into the engraved lines. This approach created what he called "vibrating colour effects", and an iridescence similar to that found in ancient glass.

Ernst Wilhelm Nay's impact on other artists is complex. He taught at the Hochschule für Bildende Künste in Hamburg from 1956^[3] to 1963. During this time, he influenced a generation of German painters interested in abstraction. Nay's move towards pure colour and form, particularly evident in his "Eye Pictures" series (Augenbilder), offered a model for artists seeking to move beyond representational art. His theories about colour relationships and the expressive potential of abstract shapes provided a framework that others could adapt. Peter Brüning is one artist who engaged with similar approaches to colour. However, Nay's influence is not always direct. Many artists working in the post-war period were grappling with similar issues of abstraction and expression. Therefore, while Nay's work certainly contributed to the artistic discourse of his time, it is difficult to isolate specific individuals who directly emulated his style. His significance lies more in his contribution to the broader movement of abstract art in Germany.

Ernst Wilhelm Nay, a German practitioner of Art Informel, had several influences. During his studies in West Berlin, Georg Baselitz, a fellow student, explored the theories of artists such as Vasily Kandinsky and Kazimir Malevich, both early 20th-century pioneers of abstract art, as well as Nay. After the war, West Berlin, isolated from Western Europe, saw a distrust of established artistic norms among younger artists. During the 1950s, Art Informel and Tachisme were the prevailing aesthetics, and Existentialism was a motivating philosophy. Baselitz experimented with Art Informel and Tachisme and was influenced by Antonin Artaud, a Surrealist poet and dramatist. Nay developed a colour system based on disk forms covering the canvas. He disregarded optical theories of colour, as well as the theory of colour as described in his 1955^[3] book, Vom Gestaltwert der Farbe, Flasche, Zahl und Klavierauszug.

Ernst Wilhelm Nay (1902^[3]-1968^[3]) is known as an important figure in post-war German abstract painting. He moved away from figurative subjects, such as still lifes and mythological themes, over three decades. By the mid-1950s, he had abandoned representational motifs entirely, focusing on abstract painting. For Nay, painting meant 'forming a picture with colour'. His abstractions do not contain coded messages; they exist as painting for its own sake. The colour and material quality of the paint are the most important formal elements. One example is Yellow Chromatic (1964^[3]). The title suggests that the colour fields, daubs, and circle segments relate to harmony. Colour and form exist in tension, creating contrasts and harmonies. Expressive motion generates a sense of space.

Ernst Wilhelm Nay (1902^[3]-1968^[3]) is regarded as a significant figure in post-war German abstract painting. His artistic journey involved a gradual move away from figurative subjects, such as still lifes and mythological themes. By the mid-1950s, he had abandoned representational motifs completely, embracing purely abstract painting. Nay himself stated that, for him, 'Painting means forming a picture with colour'. Nay's abstract works do not contain hidden meanings. Instead, they focus on painting as an end in itself. The colouristic and material qualities of the paint are of utmost importance. His works often explore the relationship between colour and form, creating a sense of space through expressive movement. Some classify Nay as an artist of Art Informel, a European counterpart to American Abstract Expressionism. Both movements share an interest in non-geometric form and improvisation.