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Hermann Max Pechstein, Dorfende und Wanderdüne in Nidden. Verso: Frank im Lupinenfeld mit Schmetterl
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Description
Hermann Max Pechstein, Dorfende und Wanderdüne in Nidden. Verso: Frank im Lupinenfeld mit Schmetterl
Oil on canvas, painted on both sides. 79 x 100 cm resp. 100 x 79 cm. Signed 'HMPechstein' (joined) in dark green on front side centre lower right.
Soika 1920/4; Verso Soika 1920/33
Provenance
Private collection, Baden-Württemberg (early 1950s until 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Cologne, 7 June 1997, lot 1471; since then Private collection, Baden-Württemberg
“A joy, this Nida: framed by the Baltic on its evening side, on its morning side is the lagoon and the charming pines, elongated dunes” (Hermann Max Pechstein to Friedrich Plietzsch, 23 June 1911, cited in: exh. cat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, p. 101).
Beginning in 1909 Max Pechstein travelled to Nida, a town on the Curonian Spit, a total of six times. At the foot of the shifting dunes, he spent productive summer months between the Baltic Sea and the lagoon. The year 1920 would be the painter's last chance for some time to visit what he experienced as a magical location: according to the Treaty of Versailles, it was to be placed under allied administration that same year.
The present canvas testifies to Pechstein's unconditional will to paint not least through the fact that it contains works on both sides - with the iconic lagoon landscape on one side and his very personal portrait of his young son Frank on the other. From a formal point of view, the two-dimensional compositions featuring broad brushstrokes and bold colours strikingly convey Pechstein's increasingly simplified Expressionist painting of the early 1920s. These works bear witness to an elemental and commanding experience of nature, and they enjoyed a thoroughly positive response from contemporary critics. For example, in 1920, Paul Fechter wrote: “The powerful effect radiating from Pechstein's new works is surely founded on the fact that, today, the energy of the experience and the act of composing are of corresponding intensity and balance one another. There are earlier works by him in which sometimes one and sometimes the other dominates. Today he has found an assured equilibrium. With all its purity, the colour is visible, but all the richer in itself; the visual form, which can scarcely be grasped conceptually or abstractly, only becomes perceptible to the instinct through the chromatic composition and has become more solid, more necessary.” (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, volume XXXV, 1920, p. 224).
Oil on canvas, painted on both sides. 79 x 100 cm resp. 100 x 79 cm. Signed 'HMPechstein' (joined) in dark green on front side centre lower right.
Soika 1920/4; Verso Soika 1920/33
Provenance
Private collection, Baden-Württemberg (early 1950s until 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Cologne, 7 June 1997, lot 1471; since then Private collection, Baden-Württemberg
“A joy, this Nida: framed by the Baltic on its evening side, on its morning side is the lagoon and the charming pines, elongated dunes” (Hermann Max Pechstein to Friedrich Plietzsch, 23 June 1911, cited in: exh. cat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, p. 101).
Beginning in 1909 Max Pechstein travelled to Nida, a town on the Curonian Spit, a total of six times. At the foot of the shifting dunes, he spent productive summer months between the Baltic Sea and the lagoon. The year 1920 would be the painter's last chance for some time to visit what he experienced as a magical location: according to the Treaty of Versailles, it was to be placed under allied administration that same year.
The present canvas testifies to Pechstein's unconditional will to paint not least through the fact that it contains works on both sides - with the iconic lagoon landscape on one side and his very personal portrait of his young son Frank on the other. From a formal point of view, the two-dimensional compositions featuring broad brushstrokes and bold colours strikingly convey Pechstein's increasingly simplified Expressionist painting of the early 1920s. These works bear witness to an elemental and commanding experience of nature, and they enjoyed a thoroughly positive response from contemporary critics. For example, in 1920, Paul Fechter wrote: “The powerful effect radiating from Pechstein's new works is surely founded on the fact that, today, the energy of the experience and the act of composing are of corresponding intensity and balance one another. There are earlier works by him in which sometimes one and sometimes the other dominates. Today he has found an assured equilibrium. With all its purity, the colour is visible, but all the richer in itself; the visual form, which can scarcely be grasped conceptually or abstractly, only becomes perceptible to the instinct through the chromatic composition and has become more solid, more necessary.” (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, volume XXXV, 1920, p. 224).
Hermann Max Pechstein, Dorfende und Wanderdüne in Nidden. Verso: Frank im Lupinenfeld mit Schmetterl
Öl auf Leinwand, doppelseitig bemalt. 79 x 100 cm bzw. 100 x 79 cm. Gerahmt. Auf der Vorderseite mittig rechts unten dunkelgrün signiert 'HMPechstein' (ligiert).
Soika 1920/4; Verso Soika 1920/33
Provenienz
Privatsammlung Baden-Württemberg (Anfang 1950er Jahre bis 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Köln, 7. Juni 1997, Lot 1471; seitdem Privatsammlung Baden-Württemberg
„Eine Freude, dieses Nidden, eingerahmt auf der Abendseite von der Ostsee, und auf der Morgenseite ist das Haff und schöne Kiefern, Dünen ziehen sich lang.“ (Hermann Max Pechstein an Friedrich Plietzsch, 23. Juni 1911, zit. nach: Ausst. Kat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, S 101).
Insgesamt sechs Mal reist Max Pechstein seit 1909 nach Nidden an der Kurischen Nehrung. Am Fuße der Wanderdüne verbringt er produktive Sommermonate zwischen Ostsee und Haff. Das Jahr 1920 sollte für den Maler die vorerst letzte Chance zum Besuch des für ihn magischen Ortes sein, der nach dem Versailler Vertrag noch im selben Jahr unter alliierte Verwaltung fällt.
Pechsteins unbedingten Willen zum Malen dokumentiert das vorliegende Bild nicht zuletzt in seiner Doppelansichtigkeit mit der ikonischen Haff-Landschaft einerseits und dem sehr persönlichen Porträt seines heranwachsenden Sohnes Frank anderseits. Aus formaler Hinsicht vermittelt sich in den flächigen Kompositionen mit breitem Pinselstrich und kräftigem Kolorit eindrucksvoll Pechsteins zunehmend geklärte expressionistische Malerei der anbrechenden 1920er Jahre. Es sind Werke, die von einer elementaren wie souveränen Naturerfahrung künden und von der zeitgenössischen Kritik überaus positiv aufgenommen wurden. So schreibt etwa Paul Fechter 1920: „Die starke Wirkung, die von den neuen Arbeiten Pechsteins ausgeht, beruht wohl darauf, daß heute in ihm die Energie des Erlebens und des Gestaltens sich an Intensität entsprechen und die Waage halten. Es gibt frühere Werke von ihm, in denen bald die eine, bald die andere überwiegt. Heute hat er den sicheren Ausgleich gefunden. Die Farbe ist bei aller Reinheit sichtbar, dafür in sich reicher, die Bildform, die kaum begrifflich, abstrakt faßbar, sondern nur dem Instinkt aus der farbigen Gliederung fühlbar wird, ist fester, notwendiger geworden." (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, XXXV. Jahrgang 1920, S. 224).
Öl auf Leinwand, doppelseitig bemalt. 79 x 100 cm bzw. 100 x 79 cm. Gerahmt. Auf der Vorderseite mittig rechts unten dunkelgrün signiert 'HMPechstein' (ligiert).
Soika 1920/4; Verso Soika 1920/33
Provenienz
Privatsammlung Baden-Württemberg (Anfang 1950er Jahre bis 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Köln, 7. Juni 1997, Lot 1471; seitdem Privatsammlung Baden-Württemberg
„Eine Freude, dieses Nidden, eingerahmt auf der Abendseite von der Ostsee, und auf der Morgenseite ist das Haff und schöne Kiefern, Dünen ziehen sich lang.“ (Hermann Max Pechstein an Friedrich Plietzsch, 23. Juni 1911, zit. nach: Ausst. Kat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, S 101).
Insgesamt sechs Mal reist Max Pechstein seit 1909 nach Nidden an der Kurischen Nehrung. Am Fuße der Wanderdüne verbringt er produktive Sommermonate zwischen Ostsee und Haff. Das Jahr 1920 sollte für den Maler die vorerst letzte Chance zum Besuch des für ihn magischen Ortes sein, der nach dem Versailler Vertrag noch im selben Jahr unter alliierte Verwaltung fällt.
Pechsteins unbedingten Willen zum Malen dokumentiert das vorliegende Bild nicht zuletzt in seiner Doppelansichtigkeit mit der ikonischen Haff-Landschaft einerseits und dem sehr persönlichen Porträt seines heranwachsenden Sohnes Frank anderseits. Aus formaler Hinsicht vermittelt sich in den flächigen Kompositionen mit breitem Pinselstrich und kräftigem Kolorit eindrucksvoll Pechsteins zunehmend geklärte expressionistische Malerei der anbrechenden 1920er Jahre. Es sind Werke, die von einer elementaren wie souveränen Naturerfahrung künden und von der zeitgenössischen Kritik überaus positiv aufgenommen wurden. So schreibt etwa Paul Fechter 1920: „Die starke Wirkung, die von den neuen Arbeiten Pechsteins ausgeht, beruht wohl darauf, daß heute in ihm die Energie des Erlebens und des Gestaltens sich an Intensität entsprechen und die Waage halten. Es gibt frühere Werke von ihm, in denen bald die eine, bald die andere überwiegt. Heute hat er den sicheren Ausgleich gefunden. Die Farbe ist bei aller Reinheit sichtbar, dafür in sich reicher, die Bildform, die kaum begrifflich, abstrakt faßbar, sondern nur dem Instinkt aus der farbigen Gliederung fühlbar wird, ist fester, notwendiger geworden." (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, XXXV. Jahrgang 1920, S. 224).
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Hermann Max Pechstein, Dorfende und Wanderdüne in Nidden. Verso: Frank im Lupinenfeld mit Schmetterl
Oil on canvas, painted on both sides. 79 x 100 cm resp. 100 x 79 cm. Signed 'HMPechstein' (joined) in dark green on front side centre lower right.
Soika 1920/4; Verso Soika 1920/33
Provenance
Private collection, Baden-Württemberg (early 1950s until 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Cologne, 7 June 1997, lot 1471; since then Private collection, Baden-Württemberg
“A joy, this Nida: framed by the Baltic on its evening side, on its morning side is the lagoon and the charming pines, elongated dunes” (Hermann Max Pechstein to Friedrich Plietzsch, 23 June 1911, cited in: exh. cat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, p. 101).
Beginning in 1909 Max Pechstein travelled to Nida, a town on the Curonian Spit, a total of six times. At the foot of the shifting dunes, he spent productive summer months between the Baltic Sea and the lagoon. The year 1920 would be the painter's last chance for some time to visit what he experienced as a magical location: according to the Treaty of Versailles, it was to be placed under allied administration that same year.
The present canvas testifies to Pechstein's unconditional will to paint not least through the fact that it contains works on both sides - with the iconic lagoon landscape on one side and his very personal portrait of his young son Frank on the other. From a formal point of view, the two-dimensional compositions featuring broad brushstrokes and bold colours strikingly convey Pechstein's increasingly simplified Expressionist painting of the early 1920s. These works bear witness to an elemental and commanding experience of nature, and they enjoyed a thoroughly positive response from contemporary critics. For example, in 1920, Paul Fechter wrote: “The powerful effect radiating from Pechstein's new works is surely founded on the fact that, today, the energy of the experience and the act of composing are of corresponding intensity and balance one another. There are earlier works by him in which sometimes one and sometimes the other dominates. Today he has found an assured equilibrium. With all its purity, the colour is visible, but all the richer in itself; the visual form, which can scarcely be grasped conceptually or abstractly, only becomes perceptible to the instinct through the chromatic composition and has become more solid, more necessary.” (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, volume XXXV, 1920, p. 224).
Oil on canvas, painted on both sides. 79 x 100 cm resp. 100 x 79 cm. Signed 'HMPechstein' (joined) in dark green on front side centre lower right.
Soika 1920/4; Verso Soika 1920/33
Provenance
Private collection, Baden-Württemberg (early 1950s until 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Cologne, 7 June 1997, lot 1471; since then Private collection, Baden-Württemberg
“A joy, this Nida: framed by the Baltic on its evening side, on its morning side is the lagoon and the charming pines, elongated dunes” (Hermann Max Pechstein to Friedrich Plietzsch, 23 June 1911, cited in: exh. cat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, p. 101).
Beginning in 1909 Max Pechstein travelled to Nida, a town on the Curonian Spit, a total of six times. At the foot of the shifting dunes, he spent productive summer months between the Baltic Sea and the lagoon. The year 1920 would be the painter's last chance for some time to visit what he experienced as a magical location: according to the Treaty of Versailles, it was to be placed under allied administration that same year.
The present canvas testifies to Pechstein's unconditional will to paint not least through the fact that it contains works on both sides - with the iconic lagoon landscape on one side and his very personal portrait of his young son Frank on the other. From a formal point of view, the two-dimensional compositions featuring broad brushstrokes and bold colours strikingly convey Pechstein's increasingly simplified Expressionist painting of the early 1920s. These works bear witness to an elemental and commanding experience of nature, and they enjoyed a thoroughly positive response from contemporary critics. For example, in 1920, Paul Fechter wrote: “The powerful effect radiating from Pechstein's new works is surely founded on the fact that, today, the energy of the experience and the act of composing are of corresponding intensity and balance one another. There are earlier works by him in which sometimes one and sometimes the other dominates. Today he has found an assured equilibrium. With all its purity, the colour is visible, but all the richer in itself; the visual form, which can scarcely be grasped conceptually or abstractly, only becomes perceptible to the instinct through the chromatic composition and has become more solid, more necessary.” (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, volume XXXV, 1920, p. 224).
Hermann Max Pechstein, Dorfende und Wanderdüne in Nidden. Verso: Frank im Lupinenfeld mit Schmetterl
Öl auf Leinwand, doppelseitig bemalt. 79 x 100 cm bzw. 100 x 79 cm. Gerahmt. Auf der Vorderseite mittig rechts unten dunkelgrün signiert 'HMPechstein' (ligiert).
Soika 1920/4; Verso Soika 1920/33
Provenienz
Privatsammlung Baden-Württemberg (Anfang 1950er Jahre bis 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Köln, 7. Juni 1997, Lot 1471; seitdem Privatsammlung Baden-Württemberg
„Eine Freude, dieses Nidden, eingerahmt auf der Abendseite von der Ostsee, und auf der Morgenseite ist das Haff und schöne Kiefern, Dünen ziehen sich lang.“ (Hermann Max Pechstein an Friedrich Plietzsch, 23. Juni 1911, zit. nach: Ausst. Kat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, S 101).
Insgesamt sechs Mal reist Max Pechstein seit 1909 nach Nidden an der Kurischen Nehrung. Am Fuße der Wanderdüne verbringt er produktive Sommermonate zwischen Ostsee und Haff. Das Jahr 1920 sollte für den Maler die vorerst letzte Chance zum Besuch des für ihn magischen Ortes sein, der nach dem Versailler Vertrag noch im selben Jahr unter alliierte Verwaltung fällt.
Pechsteins unbedingten Willen zum Malen dokumentiert das vorliegende Bild nicht zuletzt in seiner Doppelansichtigkeit mit der ikonischen Haff-Landschaft einerseits und dem sehr persönlichen Porträt seines heranwachsenden Sohnes Frank anderseits. Aus formaler Hinsicht vermittelt sich in den flächigen Kompositionen mit breitem Pinselstrich und kräftigem Kolorit eindrucksvoll Pechsteins zunehmend geklärte expressionistische Malerei der anbrechenden 1920er Jahre. Es sind Werke, die von einer elementaren wie souveränen Naturerfahrung künden und von der zeitgenössischen Kritik überaus positiv aufgenommen wurden. So schreibt etwa Paul Fechter 1920: „Die starke Wirkung, die von den neuen Arbeiten Pechsteins ausgeht, beruht wohl darauf, daß heute in ihm die Energie des Erlebens und des Gestaltens sich an Intensität entsprechen und die Waage halten. Es gibt frühere Werke von ihm, in denen bald die eine, bald die andere überwiegt. Heute hat er den sicheren Ausgleich gefunden. Die Farbe ist bei aller Reinheit sichtbar, dafür in sich reicher, die Bildform, die kaum begrifflich, abstrakt faßbar, sondern nur dem Instinkt aus der farbigen Gliederung fühlbar wird, ist fester, notwendiger geworden." (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, XXXV. Jahrgang 1920, S. 224).
Öl auf Leinwand, doppelseitig bemalt. 79 x 100 cm bzw. 100 x 79 cm. Gerahmt. Auf der Vorderseite mittig rechts unten dunkelgrün signiert 'HMPechstein' (ligiert).
Soika 1920/4; Verso Soika 1920/33
Provenienz
Privatsammlung Baden-Württemberg (Anfang 1950er Jahre bis 1997); 746. Math. Lempertz'sche Kunstversteigerung Moderne Kunst, Köln, 7. Juni 1997, Lot 1471; seitdem Privatsammlung Baden-Württemberg
„Eine Freude, dieses Nidden, eingerahmt auf der Abendseite von der Ostsee, und auf der Morgenseite ist das Haff und schöne Kiefern, Dünen ziehen sich lang.“ (Hermann Max Pechstein an Friedrich Plietzsch, 23. Juni 1911, zit. nach: Ausst. Kat. Max Pechstein. Ein Expressionist aus Leidenschaft. Retrospektive, Kunsthalle Kiel 2010, S 101).
Insgesamt sechs Mal reist Max Pechstein seit 1909 nach Nidden an der Kurischen Nehrung. Am Fuße der Wanderdüne verbringt er produktive Sommermonate zwischen Ostsee und Haff. Das Jahr 1920 sollte für den Maler die vorerst letzte Chance zum Besuch des für ihn magischen Ortes sein, der nach dem Versailler Vertrag noch im selben Jahr unter alliierte Verwaltung fällt.
Pechsteins unbedingten Willen zum Malen dokumentiert das vorliegende Bild nicht zuletzt in seiner Doppelansichtigkeit mit der ikonischen Haff-Landschaft einerseits und dem sehr persönlichen Porträt seines heranwachsenden Sohnes Frank anderseits. Aus formaler Hinsicht vermittelt sich in den flächigen Kompositionen mit breitem Pinselstrich und kräftigem Kolorit eindrucksvoll Pechsteins zunehmend geklärte expressionistische Malerei der anbrechenden 1920er Jahre. Es sind Werke, die von einer elementaren wie souveränen Naturerfahrung künden und von der zeitgenössischen Kritik überaus positiv aufgenommen wurden. So schreibt etwa Paul Fechter 1920: „Die starke Wirkung, die von den neuen Arbeiten Pechsteins ausgeht, beruht wohl darauf, daß heute in ihm die Energie des Erlebens und des Gestaltens sich an Intensität entsprechen und die Waage halten. Es gibt frühere Werke von ihm, in denen bald die eine, bald die andere überwiegt. Heute hat er den sicheren Ausgleich gefunden. Die Farbe ist bei aller Reinheit sichtbar, dafür in sich reicher, die Bildform, die kaum begrifflich, abstrakt faßbar, sondern nur dem Instinkt aus der farbigen Gliederung fühlbar wird, ist fester, notwendiger geworden." (Paul Fechter, Zu neuen Arbeiten Max Pechsteins, in: Die Kunst, XXXV. Jahrgang 1920, S. 224).
Evening Sale - Modern and Contemporary Art
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Lots: 98
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Köln
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Germany
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Evening Sale - Modern and Contemporary Art
Evening Sale - Moderne und Zeitgenössische Kunst
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