Die Sonne stürzt - Max Pechstein
Archival giclée
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Description
A powerful 1919 woodcut by German Expressionist Max Pechstein, featuring high-contrast, angular forms and a dramatic, symbolic sun.
Max Pechstein, a central figure in the German Expressionist movement and a member of Die Brücke, produced this striking woodcut titled Die Sonne stürzt in 1919. The work reflects the raw, emotive power characteristic of the period, utilising the stark contrast of black and white to convey a sense of urgency and existential tension. The woodcut medium, favoured by the Expressionists for its ability to produce jagged, forceful lines and high-contrast imagery, is here employed to distort the natural world into a series of angular, simplified forms.
The composition features a house and a tree in the foreground, rendered with heavy, deliberate gouges that strip away unnecessary detail. The sun, depicted as a dark, radiating orb, dominates the right side of the frame, suggesting a cosmic or apocalyptic event. By reducing the visual information to essential shapes, Pechstein directs the viewer towards the emotional weight of the scene rather than a literal representation of a sunset. The sharp, geometric treatment of the foliage and the building creates a sense of unease, typical of the post-war climate in which the artist worked.
This print demonstrates the technical mastery of the woodcut process, where the artist must carefully plan the removal of material to achieve the desired balance of light and shadow. The bold, unmodulated black areas provide a solid foundation for the energetic, white-carved lines that define the forms. As a piece of early twentieth-century graphic art, it captures the desire of the Expressionists to move beyond traditional academic representation, opting instead for a direct, visceral communication of the artist's internal state. The work remains a clear example of the graphic innovation that defined the German avant-garde during this period.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Die Sonne stürzt - Max Pechstein
Artist Biography
Max Pechstein
He was born in Zwickau in 1881 and apprenticed as a decorator from 1896 to 1900 before studying at the Dresden art school. Erich Heckel invited him to join Die Brucke in 1906. Contact with Matisse pushed his palette toward jarring, unmixed colour, but his compositions retained a warmth and legibility that made them easier to sell than the work of his peers.
At the outbreak of the First World War he was interned in Japan and returned to Germany via Shanghai, Manila and New York. He saw action at the Somme and suffered a nervous breakdown. In 1918 he co-founded the Novembergruppe, a left-wing artists' group that demanded artist involvement in postwar social policy.
The Nazis classified his work as degenerate. Over three hundred paintings were seized from German museums. He was banned from exhibiting and dismissed from the Prussian Academy. He produced 421 lithographs, 315 woodcuts and linocuts, and 165 etchings over his career, making him one of the most prolific printmakers of the Expressionist generation. After the war he was rehabilitated, given a professorship in Berlin and elected to the Academy of Arts. He died in Berlin in 1955, at seventy-three.
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