Max Pechstein:
Picture "The First Rays of Sunshine on the Millrace" (c. 1934), black and golden framed version
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Picture "The First Rays of Sunshine on the Millrace" (c. 1934), black and golden framed version
Max Pechstein:
Picture "The First Rays of Sunshine on the Millrace" (c. 1934), black and golden 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 approx. 58.5 x 73.5 cm (h/w)

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Product no. IN-939654

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Picture "The First Rays of Sunshine on the Millrace" (c. 1934), black and golden framed version
Max Pechstein: Picture "The First Rays of Sunshine on the...

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Picture "The First Rays of Sunshine on the Millrace" (c. 1934), black and golden framed version

What Tahiti was for Paul Gauguin, the Baltic coast was for Max Pechstein: a paradise where he found peace but, above all, great inspiration. At first, since 1909, his destination was Nidden on the Curonian Spit year after year. In 1921, he found a new paradise: The small town of Leba in Hinterpommern on the Baltic coast. He made the "Mühlengraben" (millrace) his subject several times - a version from 1921 was sold at Christie's in 2016 for almost 800,000 euros, a great price, even though Pechstein's works have already been traded for several million. Our version was painted in 1934 and depicts the early morning millrace in the light of sunrise.
Original: c. 1934, oil on canvas, 80.5 x 100.5 cm, Privately owned.

Edition transferred directly onto artist's canvas using the Fine Art Giclée process and stretched on a stretcher frame. Limited edition of 199 copies, numbered, with certificate. Stretcher frame size approx. 52 x 67 cm (h/w). Framed in a black-golden solid wood frame. Size approx. 58.5 x 73.5 cm (h/w). ars mundi Exclusive Edition. © 2022 Pechstein Hamburg/Berlin.

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Portrait of the artist Max Pechstein

About Max Pechstein

1881-1955

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)

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