Portrait of 马克斯·佩希施泰因

List of the 62 Most Famous Paintings by 马克斯·佩希施泰因

Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 62 works by 马克斯·佩希施泰因 in our catalogue

Summary

The most widely known painting by 马克斯·佩希施泰因 is Lupow Estuary. The next entries are Wiesental in the Mountains with Road and Castle (1911) and Nude in Tent (1911). The catalogue documents 62 works by 马克斯·佩希施泰因; the 62 entries below are the best known, listed in rank order with date, holding museum and description.

1881 – 1955, 茨维考 Expressionism Most works: 巴伐利亚州绘画收藏馆

马克斯·佩希施泰因: the 10 principal paintings

马克斯·佩希施泰因: entries 11 to 62

11Young Girl (1908) by 马克斯·佩希施泰因Young Girl1908 · Brücke Museum 12The Red House (1911) by 马克斯·佩希施泰因The Red House1911 · 以色列博物馆 13Krumme Lanke (1910) by 马克斯·佩希施泰因Krumme Lanke1910 14Two Girls (1909) by 马克斯·佩希施泰因Two Girls1909 · Germanisches Nationalmuseum 15Vase with Flowers and Small Sculpture (1913) by 马克斯·佩希施泰因Vase with Flowers and Small Sculpture1913 · 羅爾富萊茨博物館 16Self-Portrait with Pipe (1917) by 马克斯·佩希施泰因Self-Portrait with Pipe1917 17Portrait of Frau Dr. Plietzsch (1921) by 马克斯·佩希施泰因Portrait of Frau Dr. Plietzsch1921 · Westfälisches Landesmuseum 18Stormy Sea (1919) by 马克斯·佩希施泰因Stormy Sea1919 19Fisherman (1922) by 马克斯·佩希施泰因Fisherman1922 20Gladioli (1918) by 马克斯·佩希施泰因Gladioli1918 21Blooming Pear Trees, Ratzeburg (1919) by 马克斯·佩希施泰因Blooming Pear Trees, Ratzeburg1919 22Still Life with Calla and Figure (1919) by 马克斯·佩希施泰因Still Life with Calla and Figure1919 23Morning Hour (1919) by 马克斯·佩希施泰因Morning Hour1919 24Fishermen in a Boat (1918) by 马克斯·佩希施泰因Fishermen in a Boat1918 · 以色列博物馆 25River Landscape (1923) by 马克斯·佩希施泰因River Landscape1923 26Fishing Cutter (1923) by 马克斯·佩希施泰因Fishing Cutter1923 27Herbstabend by 马克斯·佩希施泰因Herbstabend 28Nidden Coastline With Fishing Boats by 马克斯·佩希施泰因Nidden Coastline With Fishing Boats 29White House (1910) by 马克斯·佩希施泰因White House1910 · 巴伐利亚州绘画收藏馆 30Before the Thunderstorm (1910) by 马克斯·佩希施泰因Before the Thunderstorm1910 · 巴伐利亚州绘画收藏馆 31Morning on the Haff (1911) by 马克斯·佩希施泰因Morning on the Haff1911 32Coastal Landscape (1911) by 马克斯·佩希施泰因Coastal Landscape1911 33Seated girl (Sitzendes Mädchen) (1910) by 马克斯·佩希施泰因Seated girl (Sitzendes Mädchen)1910 34Portrait with Pipe (1917) by 马克斯·佩希施泰因Portrait with Pipe1917 · 巴伐利亚州绘画收藏馆 35Married Couple (1917) by 马克斯·佩希施泰因Married Couple1917 36Rescue Boat - Italy (1917) by 马克斯·佩希施泰因Rescue Boat - Italy1917 37Covered Bridge (1912) by 马克斯·佩希施泰因Covered Bridge1912 38Nude with Calla (1914) by 马克斯·佩希施泰因Nude with Calla1914 39Still Life: South Sea Figure and Flowers (1917) by 马克斯·佩希施泰因Still Life: South Sea Figure and Flowers1917 40Frank in Red Costume (1917) by 马克斯·佩希施泰因Frank in Red Costume1917 41Still Life with Blue Cineraria Flower Stem (1917) by 马克斯·佩希施泰因Still Life with Blue Cineraria Flower Stem1917 42Girl at a Table by 马克斯·佩希施泰因Girl at a TableMuseum Folkwang 43Portrait of a Woman (1920) by 马克斯·佩希施泰因Portrait of a Woman1920 44Boy with Irises (Frank) (1918) by 马克斯·佩希施泰因Boy with Irises (Frank)1918 45The Cellist (1919) by 马克斯·佩希施泰因The Cellist1919 46Sunset (Sonnenuntergang) (1921) by 马克斯·佩希施泰因Sunset (Sonnenuntergang)1921 47Roses in June (1925) by 马克斯·佩希施泰因Roses in June1925 48Girl on the Beach (1923) by 马克斯·佩希施泰因Girl on the Beach1923 49Cellist (Portrait of Dr. Freundlich) (1923) by 马克斯·佩希施泰因Cellist (Portrait of Dr. Freundlich)1923 50Self portrait (1926) by 马克斯·佩希施泰因Self portrait1926 51Boats in Collioure (1931) by 马克斯·佩希施泰因Boats in Collioure1931 52Sitting Nude by 马克斯·佩希施泰因Sitting NudeFranz Marc Museum 53Kutter-slip Mit Bagger by 马克斯·佩希施泰因Kutter-slip Mit Bagger 54The Lily by 马克斯·佩希施泰因The Lily 55Women of islands by 马克斯·佩希施泰因Women of islands 56Cellospieler by 马克斯·佩希施泰因Cellospieler 57Hafenszene by 马克斯·佩希施泰因Hafenszene 58Fischer Am Ufer by 马克斯·佩希施泰因Fischer Am Ufer 59Fraukopf by 马克斯·佩希施泰因Fraukopf 60Sitting Female Nude by 马克斯·佩希施泰因Sitting Female NudeFranz Marc Museum 61舞蹈家 by 马克斯·佩希施泰因舞蹈家Museum Folkwang 62Two lying Nudes by 马克斯·佩希施泰因Two lying NudesFranz Marc Museum

Principal subjects in the work of 马克斯·佩希施泰因

The four subjects most frequently represented among these works, each with its best-known example.

马克斯·佩希施泰因: holding museums

The 8 museums that hold the most of the paintings on this page.

Museum City Works by 马克斯·佩希施泰因 Paintings from this list
巴伐利亚州绘画收藏馆, 慕尼黑巴伐利亚州绘画收藏馆 慕尼黑 5 Wiesental in the Mountains with Road and Castle, Nude in Tent, White House
Franz Marc Museum, 科赫尔湖Franz Marc Museum 科赫尔湖 3 Sitting Nude, Sitting Female Nude, Two lying Nudes
以色列博物馆, 耶路撒冷以色列博物馆 耶路撒冷 2 The Red House, Fishermen in a Boat
Museum Folkwang, 埃森Museum Folkwang 埃森 2 Girl at a Table, 舞蹈家
Brücke Museum, 柏林Brücke Museum 柏林 1 Young Girl
Germanisches Nationalmuseum, 纽伦堡Germanisches Nationalmuseum 纽伦堡 1 Two Girls
羅爾富萊茨博物館, Köln羅爾富萊茨博物館 Köln 1 Vase with Flowers and Small Sculpture
Westfälisches Landesmuseum, 明斯特Westfälisches Landesmuseum 明斯特 1 Portrait of Frau Dr. Plietzsch

马克斯·佩希施泰因: principal painting of each decade

Works per decade

Select a decade to display its principal painting.

马克斯·佩希施泰因's paintings: reference questions

Which painting by 马克斯·佩希施泰因 is the most widely known?Display the answer

Lupow Estuary. The following entries are Wiesental in the Mountains with Road and Castle (1911) and Nude in Tent (1911).

Which ten paintings by 马克斯·佩希施泰因 are the best known?Display the answer

Lupow Estuary, Wiesental in the Mountains with Road and Castle, Nude in Tent, The Artist's Wife, Nude on the Beach, East German Village Landscape (Fishing Village), Horse Market in Moritzburg, The Red Stockings, Ships in Königsberg and Women with Boat. The list above records the date and holding museum of each.

How many works by 马克斯·佩希施泰因 are documented?Display the answer

The catalogue records 62 works by 马克斯·佩希施泰因, dated between 1908 and 1931.

Which museums hold the best-known paintings of 马克斯·佩希施泰因?Display the answer

Principally in 巴伐利亚州绘画收藏馆 (慕尼黑), Franz Marc Museum (科赫尔湖) and 以色列博物馆 (耶路撒冷). The museum table above gives the full distribution.

In which period were 马克斯·佩希施泰因's best-known works painted?Display the answer

In 1910s: 33 of the 62 works listed on this page are dated to that period, including Wiesental in the Mountains with Road and Castle.

Which are the earliest and latest dated works by 马克斯·佩希施泰因 on this list?Display the answer

The earliest dated work listed here is Young Girl (1908); the latest is Boats in Collioure (1931).

Which subjects recur most in the work of 马克斯·佩希施泰因?Display the answer

Woman (2), Chair (2) and Nude (2), out of the 62 works listed on this page.

Which medium predominates in the work of 马克斯·佩希施泰因?Display the answer

Painting, in 2 of the 62 works listed on this page.

With which art movement is 马克斯·佩希施泰因 associated?Display the answer

Expressionism, as documented by the works on this page.

Which works by 马克斯·佩希施泰因 are in the collection of the 巴伐利亚州绘画收藏馆?Display the answer

Wiesental in the Mountains with Road and Castle, Nude in Tent and White House are among the 5 works on this page in the collection of the 巴伐利亚州绘画收藏馆, 慕尼黑.

Are reproductions of paintings by 马克斯·佩希施泰因 available?Display the answer

Yes. Each work listed on this page can be ordered from its own entry as a hand-painted oil reproduction or a fine art print, in a size of your choice.

马克斯·佩希施泰因: biographical notes

The Vibrant Pulse of German Expressionism

Born in the industrial heart of Zwickau in 1881, Hermann Max Pechstein emerged from a working-class background to become one of the most commanding figures of the early twentieth-century avant-garde. His journey into the soul of modern art began not with grand academic pretension, but through a grounded connection to craftsmanship and the raw textures of life. As the son of a textile worker, Pechstein’s early sensibilities were shaped by the rhythmic, tactile world of industry, a foundation that would later manifest in his bold, uninhibited use of line and color. His formal education at the Royal Academy of Applied Arts and the Royal Academy of Fine Arts in Dresden provided him with a technical rigor that set him apart from many of his contemporaries; he was, uniquely, the only member of the legendary Die Brücke group to have undergone such comprehensive academic training.

The trajectory of Pechstein’s career was irrevocably altered in 1906 when a chance encounter at a Dresden exhibition introduced him to Erich Heckel and the burgeoning collective known as Die Brücke. This fellowship of artists sought to bridge the gap between the past and a new, visceral modernity, stripping away the polite veneers of academicism to reveal the emotional truth beneath. Pechstein’s work during this period began to vibrate with a newfound energy, shedding the lingering decorative influences of Art Nouveau in favor of something far more primal. His travels through Italy and France acted as a powerful catalyst, where the sun-drenched palettes of the Fauves and the structural clarity of the Renaissance masters merged within his mind, resulting in a style characterized by simplified forms and an intense, unmixed application of pigment.

A Legacy Forged in Color and Conflict

As his reputation grew, Pechstein’s canvases became windows into the shifting spirit of post-WWI Germany. His art was never merely decorative; it was a profound exploration of human existence, captured through scenes of lively dancers, tranquil landscapes, and intimate portraits. In works such as Girl at a Table, one can witness his mastery of expressive lines and a sophisticated use of color that breathes life into the subject, often utilizing models like Lotte Kaprolat to ground his visionary abstractions in human warmth. His ability to capture the vitality of everyday life—from the rhythmic movement in his Dancers series to the vibrant, sun-soaked atmospheres of his island scenes—cemented his status as a master of the Expressionist idiom.

However, the brilliance of Pechstein’s vision was met with profound darkness during the rise of the Nazi regime. His commitment to emotional honesty and formal experimentation led the state to label his work as Degenerate Art. This period of persecution saw more than 300 of his paintings stripped from German museums, a devastating blow to both the artist and the cultural fabric of his nation. Despite this systematic attempt to erase his contribution, Pechstein’s spirit remained unbroken. He continued to paint through the turbulence of war and political upheaval, leaving behind a legacy that serves as a testament to the resilience of the creative impulse. Today, we recognize Max Pechstein not just as a painter, but as a pioneer who dared to use color as a language of liberation, ensuring that the vibrant pulse of German Expressionism continues to resonate through the halls of art history.

All 62 works by 马克斯·佩希施泰因 →