This project will comprehensively appraise Emil Nolde’s relationship with Nazism for the first time, simultaneously connecting it to the history of Nolde’s reception, particularly after 1945. It will be the first study to be able to evaluate the rich source material, within the above context, from the Seebüll Ada and Emil Nolde Foundation, thus shedding light on the role played by the foundation in communicating Nolde’s art and his person. Despite the fact that Nolde’s sympathy with Nazism remained unbroken right up until 1945, after the War Nolde became the very personification of the persecuted artist. Alongside the Nolde Foundation in Seebüll, an important factor here was the missionary zeal and cultural patriotism demonstrated by influential museum directors such as Carl Georg Heise, Alfred Hentzen and Werner Haftmann, along with the specific media dynamics and the conventions in reporting on art in post-War Germany. To the above end, the project will investigate museum policies, exhibition practices, presentation strategies and the reception of exhibitions, and will place the latter in the wider context that was the competing systems during the Cold War and the process of coming to terms with Germany’s cultural past.