221
Hermann Max Pechstein
Bildnis Charlotte Cuhrt, 1910.
Oil on canvas
Estimate:
€ 400,000 / $ 464,000
Sold:
€ 817,000 / $ 947,719

(incl. surcharge)
221
Hermann Max Pechstein
Bildnis Charlotte Cuhrt, 1910.
Oil on canvas
Estimate:
€ 400,000 / $ 464,000
Sold:
€ 817,000 / $ 947,719

(incl. surcharge)
 

Bildnis Charlotte Cuhrt. 1910.
Oil on canvas.
Soika 1910/62. Signed and dated lower left. 175 x 85 cm (68.8 x 33.4 in).
In original frame. [KD/ATh].
Pechstein's lucent paintings from the days of the "Brücke", today largely in possession of public collections, are the artist's most sought-after works on the international auction market.

PROVENANCE: Max Cuhrt, Berlin (commissioned in 1910 and in family possession until 2008).
Private collection (since 2008).

EXHIBITION: Neue Sezession, III. exhibition Kunstsalon Maximilian Macht, Berlin, 18 February - mid April, 1911, no. 33 (portrait L. C.).
Belvedere, Vienna, 2009-2014 (loan from private ownership).

LITERATURE: Johannes Sievers, Die Neue Sezession in Berlin, in: Der Cicerone, year 3, 1911, issue 5, p. 178.
Cora Eggers-Wrublick, Das Portrait in der Malerei Max Pechsteins. Studien zum Portrait im Expressionismus, Essen 2004, no. 26, p. 289.
Aya Soika, Max Pechstein. Das Werkverzeichnis der Ölgemälde, vol. 1: 1905-1918, München 2011, p. 104, 151, 275.

Pechstein presented this portrait "Bildnis Charlotte Cuhrt"at the widely noticed third exhibition of the 'Neue Secession' in 1911. A meaningful decision: It is proof of how much he saw all his modernity realized in this picture. The 'Neue Secession' was a very progressive association that campaigned against the time-honored "Berlin Secession". Accordingly, works of a highly avant-gardist potential were shown. "The best young artists, the promising bearers of a developable future have congregated to form a new Secession", wrote the art historian Max Raphael in the preface of the auction catalog. His following words precisely describe the "Bildnis Charlotte Cuhrt": "Every object is only medium of a color[..] and the work does not aim to deliver account of the impression of nature but the expression of sensation. The [..] 'imitation' disappears in favor of a 'new creation'." (Quote after 'Liebermanns Gegner. Die Neue Secession in Berlin und der Expressionismus', exhibition Berlin 2011, Cologne 2011, p. 204).





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