Emil Nolde, “Courtship”, 1919

According to the Nolde’s painting there are at least three keys to earthly happiness – two of them belong to the seductively behaving young man and one to the woman in the moment of being seduced. The first opener of earthly happiness is the man’s eyes shining with blueness brighter than the sky itself. Second is the optimistically blue and energetically crafty fingers of his right hand – suggesting to the woman heavenly (but on the earth) happiness. The confident movements of his fingers suggest that his seductive intention is directly connected with the promise of money in exchange for the woman’s sexual favors. The third magic key to the success of the business of courtship is the heavenly blue sparkle in the woman’s eyes (in a justified contrast to the “sinful” darkness of her gaze). The success of seduction is impossible without at least some degree of greed in the person targeted by courtship (which always takes super-generous pose).

Of course, the woman is also not without her own seductive posture in relation to her seducer. Her playful thigs and, of course, her almost wild pubic hair is a rather radical and insisting promise. But the man’s sexual appeal (which we notice right under the woman’s as if lazily pantomimed right knee) is not completely blue, but blue mixed with the green as a natural color of earthy flora with its remarkable ability to expand to the heaven.

Earthly happiness needs a private beach (or a wild corner of it) – the sun’s abode, which with some quite human imagination can be transferred into private interiors with a dosed light. But our negotiators of marital or just sexual celebration are certainly on the corner of wild beach framed by the calm river. Here primordial naturalness embraces with reasonable donation on part of rational financial calculation.

Healthy active sexuality needs money to solidify itself, like money needs sexuality to intensify its existence. The both ingredients obviously need, respect and appreciate each other. Marriage appeals to them, because even use of the fig list of love makes money and sex inevitably vailed. Look at our personages of Nolde’s painting – how involved they are into elaborating of the establishment of their relationship. The both are equally don’t want to end as stupid and insipid simpletons. They both want to possess the greenness and blueness of their togetherness.


Emil Nolde, 1896


Emil Nolde 1867-1956