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Hermann Max Pechstein Vintage Die Brucke German Expressionist German Expressionism Contemporary Art French Village Landscape Oil Painting
Hermann Max Pechstein Vintage Die Brucke German Expressionist German Expressionism Contemporary Art French Village Landscape Oil Painting
Hermann Max Pechstein Vintage Die Brucke German Expressionist German Expressionism Contemporary Art French Village Landscape Oil Painting
Hermann Max Pechstein Vintage Die Brucke German Expressionist German Expressionism Contemporary Art French Village Landscape Oil Painting
Hermann Max Pechstein Vintage Die Brucke German Expressionist German Expressionism Contemporary Art French Village Landscape Oil Painting
Hermann Max Pechstein Vintage Die Brucke German Expressionist German Expressionism Contemporary Art French Village Landscape Oil Painting
Hermann Max Pechstein Vintage Die Brucke German Expressionist German Expressionism Contemporary Art French Village Landscape Oil Painting
Pacific Fine Art

Hermann Max Pechstein Vintage Die Brucke German Expressionist German Expressionism Contemporary Art French Village Landscape Oil Painting

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Max Pechstein was born in Zwickau, the son of a craftsman who worked in a textile mill. Early contact with the art of Vincent van Gogh stimulated Pechstein's development toward expressionism. After studying art at the School of Applied Arts and then at the Royal Art Academy in Dresden, Pechstein met Erich Heckel and joined Die Brücke in 1906. He was the only member to have formal art training. Later in Berlin, he helped to found the Neue Sezession and gained recognition for his decorative and colorful paintings that were lent from the ideas of Van Gogh, Matisse, and the Fauves. His paintings eventually became more primitivist, incorporating thick black lines and angular figures.

From 1933, Pechstein was vilified by the Nazis because of his art. A total of 326 of his paintings were removed from German museums. Sixteen of his works were displayed in the Entartete Kunst (Degenerate Art) exhibition 1937. During this time, Pechstein went into seclusion in rural Pomerania.
He was a prolific printmaker, producing 421 lithographs, 315 woodcuts and linocuts, and 165 intaglio prints, mostly etchings.

Max Pechstein was a professor at the Berlin Academy for ten years before his dismissal by the Nazis in 1933. He was reinstated in 1945 and subsequently won numerous titles and awards for his work. 
He died in West Berlin. He is buried on the Evangelischer Friedhof Alt-Schmargendorf, in Berlin.

Online Ref/Links:

https://books.google.com/books?id=ZFFU2L9hdVEC&pg=PA284&lpg=PA284&dq=pechstein+village+mediterranean+france&source=bl&ots=uZt9lLOB49&sig=nog2R3fQljm5fVAGcVD-OXpK3Ko&hl=en&sa=X&ved=0ahUKEwjg4Lel2ZTUAhWJMGMKHRIrATMQ6AEIJjAA#v=onepage&q=pechstein%20village%20mediterranean%20france&f=false

http://cdn2.all-art.org/art_20th_century/expressionism/pechstein/11.jpg

https://static.artuk.org/w800h800/LLR/LLR_LAMS_L_F43_1952_0_0.jpg

http://2.bp.blogspot.com/-mbOn4QOMnlc/VCHd3FVOIgI/AAAAAAAACNI/0f1aL03ftsY/s1600/Pechstein15.jpg

http://www.kunsthaus-jesteburg.de/wp-content/uploads/2012/12/pechstein_frauenamwaldrand_1911_03.jpg

https://www.wikiart.org/en/max-pechstein


Hermann Max Pechstein
(1881-1955)
German Expressionist
Die Brucke
A person walking down an Avenue, in a Village Landscape
French Village, Mediterranean Coast, Southern France
Estimated at approximately 1932.
Painting is still housed in the original era vintage frame
Measures approximately 16"HX 21.4"W; plus frame.
Nails hold the canvas to the wood stretcher bars
Painting has writing on reverse, non legible. (Possibly a title), upper left corner on the wood stretcher bars; starts start with "Die"; (writing is written in German). Possibly a notation to another member of the group. In large letters, old graphite/pencil appears to state "PECH". The painting has light writing along the lower edge; the writing has faded and is illegible. Due to the lack of a complete full signature, the painting is listed as an attribution to the artist.
The painting was lightly cleaned of old varnish. Some traces of old varnish lie within the paintbrush strokes. There is a light impression line along the top of the painting, which could be restored set on a board backing. There have been no previous overpaints, or restorations. 
The painting is in very good condition. The lower left edge of the canvas is starting to separate from the wood stretcher frame. There are a few lines that are noticeable upon close inspection, from age. Paint is stable.

 

 

 

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