拍品專文
After serving in the army, Pechstein returned to civilian life in 1917, and executed his celebrated series of Palau paintings, based on the verbal and pictorial sketches which he had gathered in his diaries during his 1914 stay in the Pacific islands of Palau. These rare paintings owe much to Gauguin, particularly in their idealized view of the natives and their lifestyles.
Jill Loyd makes this point very clearly in German Expressionism, Primitivism and Modernity where she writes: "Pechstein's description of the Palau islanders follows the idealistic models of Rousseau's noble savage: he consistently emphasizes the cleanliness, dignity, humanity and gentle childishness of the native. Most important, he represents them living in concert with nature, enjoying an effortless round of fishing, hunting, feasting, dancing and sleeping."
Pechstein remembered "I was surrounded by unsurpassable natural lushness. Incomparably fertile growth extended everywhere, plants never before seen, palms and bread fruits rose up, bamboos and sugar beet. In such nature, the brown natives grow. Slim, bronzed beings in their godly nudity".
Max K. Pechstein has kindly confirmed the authenticity of this work.
Jill Loyd makes this point very clearly in German Expressionism, Primitivism and Modernity where she writes: "Pechstein's description of the Palau islanders follows the idealistic models of Rousseau's noble savage: he consistently emphasizes the cleanliness, dignity, humanity and gentle childishness of the native. Most important, he represents them living in concert with nature, enjoying an effortless round of fishing, hunting, feasting, dancing and sleeping."
Pechstein remembered "I was surrounded by unsurpassable natural lushness. Incomparably fertile growth extended everywhere, plants never before seen, palms and bread fruits rose up, bamboos and sugar beet. In such nature, the brown natives grow. Slim, bronzed beings in their godly nudity".
Max K. Pechstein has kindly confirmed the authenticity of this work.