Max Pechstein

Mica Plietzsch, Cologne 
Kunsthandel Wolfgang Werner KG, Bremen & Galerie Gunzenhauser, Munich (acquired from the above)
Acquired from the above by the late owner in 1974

Bremen, Graphisches Kabinett Kunsthandel Wolfgang Werner, Deutsche Kunst 1900-1940, 1974, illustrated in colour in the catalogue
Selm, Schloss Cappenberg, Max Pechstein, 1989, illustrated in colour in the catalogue

Aya Soika, Max Pechstein: Das Werkverzeichnis der Ölgemälde, Munich, 2011, vol. II, no. 1921/61, illustrated p. 257

The canvas is one of the artist's typically thick ones and is not lined. UV examination reveals some scattered lines and small spots of retouching in places, most prominently to the extreme lower edge and to the pink area to the right of the chair. There are some fine lines of craquelure in places, mainly to the green pigment to the left of the composition and to the woman's decolletage area. There are a few minor surface scratches in places, not at all visually distracting. Overall this work is in good condition.
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This striking portrait is one of only two that Pechstein painted of his good friend Mica Plietzsch, both from 1921. Bernard Myers has talked of this moment in Pechstein’s output, noting 'a group of fine portrait studies done from 1917 to 1921…Monumental in their conception of form, expressive in their capture of the sitter’s character and mood in the inward-turning sense of the school generally, these half-length studies are blocked in with bold, assured strokes and conscious deformations that intensify their meaning. In some ways these portraits, especially the studies of himself, are among the finest things that Pechstein did; very personal in style, they differ considerably from other Expressionist portraits’ (Bernard S. Myers, Expressionism, A Generation in Revolt, London, 1963, p. 145).

These early years of Weimar Germany saw Pechstein reach the peak of his fame and productivity. Indeed, December 1921 was the crowning of his exhibition career so far when the National Gallery in Berlin chose Pechstein as the first subject of a series of solo exhibitions exploring contemporary masters. He was praised by the press and critics alike; Karl Scheffler proclaimed in Kunst und Künstler, ‘Within the orchestra of new German art Pechstein’s talent is the trumpet. He blares out forceful passages in such a way that no one can ignore them; his painting is characterised by an intensity which one cannot evade’ (quoted in B. Fulda & Aya Soika, Max Pechstein: The Rise and Fall of Expressionism, Germany, 2012, p. 238).

Taken as a whole, this work is evidence of Pechstein’s varied influences. On a study trip to Italy in 1907, he had learned from the work of Giotto to give his figures a naturalistic three dimensionality. It is this added classical influence, twinned with the distortion of figure - so emblematic of German expressionism - which makes this such a compelling and forceful image. Pechstein’s dramatic use of colour, and its sources, must not be overlooked. On his return from Italy in 1907-08 the young artist stopped in Paris, encountering the work of the Fauves first hand, and even encouraging Kees van Dongen to exhibit with Die Brücke in the future. The present work exhibits many of the hallmarks of an early Matisse portrait, and begs to be compared to Portrait de Mme Matisse (fig. 1), in its bold use of red and green strips, worked into the walls, the chair and even the necklace of Frau Plietzsch, whilst retaining a strong linear accent and full form. We see Pechstein at his most capable and confident: the present work is an excellent example of the visually arresting portraiture for which the artist is celebrated.