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  1. 29 de jun. de 2023 · Max Pechstein. Max Hermann Pechstein nació en Zwickau, Alemania, el 31 de diciembre de 1881. Inició su formación como aprendiz de decorador en Zwickau y en 1900 se trasladó a Dresde, donde ingresó en la Kunstgewerbeschule. En 1906 tras conocer a Erich Heckel, se integró en el grupo Die Brücke junto a Ernst Ludwig Kirchner y Karl Schmidt ...

  2. Hermann Max Pechstein (December 31, 1881 – June 29, 1955) was a German expressionist painter and printmaker, and a member of the Die Brücke group. Pechstein was born in Zwickau, the son of a craftsman who worked in a textile mill. Early contact with the art of Vincent van Gogh stimulated Pechstein's development toward expressionism.

  3. Following Max Pechstein’s first trip to Nidden in the summer of 1909, this small fishing village became the artist’s Nordic paradise. Located beside a coastal lagoon separated from the sea by a narrow strip of land called Kurische Nerhung, at the easternmost end of the Baltic coast of East Prussia, now Lithuania, since the end of the nineteenth century Nidden had been a regular place of ...

  4. The Red House, 1911. Max Pechstein. The Dance (Dancers and Bathers at the Forest Pond), 1912. Max Pechstein. Three Nudes in the Forest, 1911. Max Pechstein. Seated Nude, 1918. Max Pechstein. The Artist’s Mother-in-Law, 1910.

  5. Max Pechstein. Max Pechstein în casa sa din Berlin-Zehlendorf, 1915. Max Pechstein (n. 31 decembrie 1881, Zwickau, Regatul Saxoniei, Imperiul German – d. 29 iunie 1955, Berlin, RDG) a fost un pictor și grafician german, reprezentant al expresionismului și al expresionismului german, membru al grupării artistice Die Brücke .

  6. Max Pechstein (31. prosince 1881 Zwickau – 19. června 1955 Mnichov) byl německý malíř a grafik. Od roku 1906 byl členem expresionistické umělecké skupiny Die Brücke , byl jediný z uměleckého okruhu této skupiny, který měl formální malířské vzdělání.

  7. Max Pechstein Somali Dance (Somalitanz) 1910. Max Pechstein's deliberately crude execution—rough gouges, simplified forms, and contrasts of color—heightens the primitivist atmosphere of his subject, an African dance. The closed-eyed flutist is totally given over to the raw power of the music.