Porträt Frau Cuhrt - Max Pechstein
Archival giclée
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Description
A striking Expressionist portrait by Max Pechstein, featuring bold brushwork and a vivid, non-naturalistic colour palette.
Max Pechstein, a member of the Die Brücke group, produced this portrait of Frau Cuhrt during the height of his involvement with German Expressionism. The work displays the characteristic rejection of academic realism in favour of subjective emotional expression. Pechstein employs a bold, non-naturalistic colour palette, where the deep turquoise background contrasts sharply with the warm, flesh-toned hues of the subject's face. The brushwork is thick and energetic, creating a sense of immediate, tactile presence.
The composition is contained within an octagonal frame, a format that draws the viewer's attention directly to the sitter. Frau Cuhrt is depicted with a direct, unyielding gaze. Her attire, featuring a patterned bodice and striped sleeves, is rendered with simplified forms and heavy outlines. This approach reflects the influence of both Fauvism and primitive art, which were central to the aesthetic development of the Die Brücke artists during this period. The painting avoids smooth transitions, opting instead for distinct blocks of colour that define the facial features and clothing.
By prioritising the expressive potential of paint over photographic accuracy, Pechstein captures a psychological intensity. The portrait functions as a study of character rather than a mere physical likeness. The application of paint is rapid and confident, leaving the texture of the canvas visible in several areas. This raw quality is a hallmark of the Expressionist movement, which sought to convey the inner state of the artist and the subject through distortion and colour. The work remains a clear example of the stylistic shift occurring in early twentieth-century German art, where the focus moved away from traditional representation toward a more visceral, emotive visual language.
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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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Manufacturing
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
Porträt Frau Cuhrt - 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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