Max Pechstein:
Picture "Gladioli" (1918), black and silver-coloured framed version
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Picture "Gladioli" (1918), black and silver-coloured framed version
Max Pechstein:
Picture "Gladioli" (1918), black and silver-coloured framed version

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ars mundi Exclusive Edition | limited, 199 copies | numbered | certificate | reproduction, Giclée print on canvas | on stretcher frame | framed | size 51.5 x 40.5 cm (h/w)

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Product no. IN-944246

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Frame variant
Picture "Gladioli" (1918), black and silver-coloured framed version
Max Pechstein: Picture "Gladioli" (1918), black and silve...


Detailed description

Picture "Gladioli" (1918), black and silver-coloured framed version

Max Pechstein, a member of both the art association "Brücke" and the "Berliner Secession" as well as a founding member of the "Neue Secession", was already an extremely successful artist from a young age. In terms of subject matter, Pechstein had a wide range, with his landscape paintings, in particular, being highly esteemed both then and today. His travels took him to the Mediterranean (Italian trips in 1907, 1911, 1913, 1924, and 1925), the South Seas (1914), and since 1909, for decades, he repeatedly visited the Baltic Sea, including Nidden and Leba.

Following his travels and a creative pause due to the war, Pechstein created numerous still lifes in 1917 and 1918, capturing exotic and local flowers in colourful works.
Original: 1918, oil on canvas, 118 x 90 cm, Privately owned, location unknown.

Edition transferred directly onto artist's canvas using the Fine Art Giclée process and stretched on stretcher frame. Limited edition 199 copies, numbered, with certificate. Stretcher frame size 45 x 34 cm (h/w). Framed in black and silver-coloured solid wood frame. Size 51.5 x 40.5 cm (h/w). ars mundi Exclusive Edition. © 2023 Pechstein Hamburg/Berlin

Portrait of the artist Max Pechstein

About Max Pechstein


Max Pechstein is considered today, as he was then, one of the most important representatives of German Expressionism. In spring 1906, he joined the artists' group "Die Brücke", which had been founded the previous year by Kirchner, Heckel, Schmidt-Rottluff and Bleyl. In the field of graphic art, he produced an oeuvre of over 850 woodcuts, lithographs and etchings in addition to his paintings.

What Tahiti was to Paul Gauguin, the Baltic Sea coast was to Max Pechstein: a paradise where he found peace, but above all great inspiration. From 1909 onwards, he travelled several times to Nidden on the Curonian Spit, where Lovis Corinth had worked as a young art student more than a quarter of a century earlier. However, when the Treaty of Versailles placed the Curonian Spit under Allied administration in 1920, the way there was blocked. In his own words, Pechstein had to "once again go in search of a spot of earth that was not overrun by painters, tourists and bathers". He found it in Leba, where from then on he spent his summers on a regular basis.

"For more than twenty years Max Pechstein went to the Baltic coast every summer, first to the Curonian Spit, then to Pomerania, which naturally connected him closely to our house. When he rented a room here with his first wife in 1921, he had no idea how attached he would soon feel to the small harbour town of Leba, for he fell in love with Marta Möller, the daughter of his innkeeper. The pristine nature with its beach lakes and the fishing boats in the harbour, the pipe in his mouth, tanned and the anchor tattooed, those things stayed with the passionate angler Pechstein until the end of his life, even when he and his wife could no longer go to Pomerania after the Second World War." (Dr. Birte Frenssen, Deputy Director at the Pomeranian State Museum in Greifswald)