Emil Nolde was aware that after 1945 both his sympathy with Nazism and his publicly expressed anti-Semitic statements – about Max Liebermann, for example, and an art scene ostensibly dominated by Jews – would considerably damage his reputation as a ground-breaking modern artist. After the system had collapsed, he therefore took great pains to present himself as a victim of the Nazi regime and to furnish himself with a clean slate. Dr. Bernhard Fulda, a historian at the University of Cambridge, is using previously inaccessible source material to reveal exactly what Nolde did to achieve this.
Dr. Bernhard Fulda
Series created by
Gisela Graichen and Peter Prestel