Max Pechstein: The Rise and Fall of Expressionism by Bernhard Fulda;Aya Soika

By Bernhard Fulda;Aya Soika

Max Pechstein (1881-1955) is without doubt one of the so much well-liked German artists of the 20th century, no longer least as a result of his the most important function within the leap forward of German Expressionism. This lengthy past due biography combines the portrayal of a very good creative character with the tale of anyone German who struggled in the course of the political upheavals of his time. Pechstein's paintings is gifted within the cultural context of museum politics and paintings institutions, artwork purchasers and critics, industry forces and cultural traits

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2 Apart from their shared passion for van Gogh they both admired Old German masters like Albrecht Dürer, Matthias Grünewald and Lucas Cranach, and were fascinated by the possibilities of print-making and woodcutting. 3 But despite the young men’s common interests, Pechstein apparently did not join the Brücke group immediately. 4 Perhaps he was sceptical whether his new acquaintances – as students of architecture – really had the artistic potential to help promote his own career. After all, he 1 2 3 4 Max Pechstein (ed.

Pechstein chose to depict a bed of tulips in brightly coloured red. He based his design on an oil painting which he had created earlier that year, in the wake of the van Gogh exhibition. Pechstein recalled in his memoirs: In spring I had seen a bed of flamingly red tulips in the garden of the Zwinger [the baroque palace housing the royal art collections]. It exhilarated me like the yellow sun flowers from Goppeln, or like the carvings on the roof beams and Querbalken from the Palau Islands […] in the Ethnographic Museum, which instilled in me a longing as if I already anticipated this distant tropical world.

The fountain niche of which the painting formed part was reproduced often in the various art journals 82 83 Moderne Bauformen 6 (1907), no. 7, figure 51. See Jutta Petzold-Hermann, ‘Die Dritte Deutsche Kunstgewerbeausstellung Dresden 1906’, in Jugendstil in Dresden, 65–79. 84 Ausstellungszeitung der Dritten Deutschen Kunstgewerbe-Ausstellung 1906 (Dresden, 1906). See Günter Krüger, Max Pechstein. Das graphische Werk (Tökendorf, 1988), H2-H6. For a survey of Pechstein’s works produced for this exhibition, see Aya Soika, ‘The Public Face of German Expressionism.

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