Max Pechstein


Das gelbschwarze Trikot

Material / Technique
Bildmaß 68,9 × 78 cm
Rahmenmaß 82,7 × 92,6 × 5,5 cm
Related Digital Projects
Related Albums
Acquisition details
Seit 1990 Dauerleihgabe aus Privatbesitz
Max Pechstein, Das gelbschwarze Trikot, 1910, Öl auf Leinwand, Brücke-Museum, Dauerleihgabe aus Privatbesitz, © Pechstein – Hamburg / Berlin; VG Bild-Kunst, Bonn 2022
Object Reference
Vorderseite von Im Wasser

Exhibitions (selection)

Literature (selection)

  • Senator für Wissenschaftund Kunst, Berlin (Hg.), Künstler der Brücke. Gemälde der Dresdener Jahre 1905 - 1910 , Ausst.-Kat. Brücke-Museum Berlin, Berlin 1973.

  • Magdalena M. Moeller, Das Brücke-Museum Berlin, Prestel, München 1996.

  • Magdalena M. Moeller (Hg.), Brücke. La nascita dell´espressionismo, Ausst.-Kat. Fondazione Antonio Mazzotta Milan, Mazzotta, Milano 1999.

  • Magdalena M. Moeller (Hg.), Die Brücke. Meisterwerke aus dem Brücke-Museum Berlin, Ausst.-Kat. Brücke-Museum Berlin, Hirmer Verlag, München 2000.

  • Magdalena M. Moeller (Hg.), Max Pechstein im Brücke-Museum, Ausst.-Kat. Brücke-Museum Berlin / Von der Heydt-Museum Wuppertal / Schleswig-Holsteinische Landesmuseen - Schloss Gottorf/Städtische Galerie Bietigheim-Bissingen, Hirmer Verlag, München 2001.

  • Magdalena M. Moeller (Hg.), Auf der Suche nach dem Ursprünglichen. Mensch und Natur im Werk von Otto Mueller und den Künstlern der Brücke, Brücke-Archiv 21/2004, Hirmer Verlag, München 2004.

  • Javier Arnaldo, Magdalena M. Moeller (Hg.), Brücke. Die Geburt des deutschen Expressionismus, Ausst.-Kat. Berlinische Galerie, Hirmer Verlag, München 2005.

  • Javier Arnaldo, Magdalena M. Moeller (Hg.), Brücke. El nacimiento del expresionismo alemán, Ausst.-Kat. Museo Thyssen-Bornesza Madrid/Fundación Caja Madrid, Madrid 2005.

  • Brücke und Berlin. 100 Jahre Expressionismus, Ausst.-Kat. Neue Nationalgalerie, Kulturforum Potsdamer Platz, Nicolai, Berlin 2005.

  • Magdalena M. Moeller (Hg.), Brücke-Museum Berlin, Malerei und Plastik. Kommentiertes Verzeichnis der Bestände, Hirmer Verlag, München 2006.

  • Staatssekretär für kulturelle Angelegenheiten des Landes Berlin, André Schmitz (Hg.), Im Zentrum des Expressionismus. Erwerbungen und Ausstellungen des Brücke-Museums Berlin 1988 - 2013. Ein Jubiläumsband für Magdalena M. Moeller, Hirmer Verlag, München 2013.

  • Max Pechstein. Pionier der Moderne, Ausst.-Kat. Brücke-Museum, Hirmer Verlag, München 2015.

  • Magdalena M. Moeller (Hg.), Brücke Museum Highlights, Hirmer Verlag, München 2017.

  • Brücke-Museum, Lisa Marei Schmidt, Isabel Fischer (Hg.), 1910. Brücke. Kunst und Leben, ausstellungsbegleitende Zeitung, Brücke-Museum, Berlin 2022.


Monogrammiert unten links: HMP 1909 (Signatur)
Nicht bezeichnet (Bezeichnung)

Inventory Number
DL 1990/2

Catalog Number
Soika 1910/31

(Aya Soika)

About the Work

Max Pechstein, Das gelbschwarze Trikot (The Yellow-Black Tricot), 1910

The right foreground of the painting shows a girl in a bathing costume, her face indicated with just a few quick brushstrokes. Given the figure’s yellow-and-black striped tricot and childlike physical proportions, we can assume the model was the then nine-year-old Franziska Fehrmann, dubbed “Fränzi” by the artist. Having previously posed for Ernst Ludwig Kirchner and Erich Heckel in their Dresden studio, the girl joined the three young men at a small lake known as Dippelsdorfer Teich. The excursion began in July 1910. Accessible by steam train from Dresden and within walking distance of Jagdschloss Moritzburg, the artists engaged in an idiosyncratic kind of plein-air painting among birch trees and reeds. The group spent their days by and in the water – they had packed a hammock and blankets for the journey – and painting and drawing outdoors. For Pechstein, the six-week stay in the company of his colleagues and their models resulted in a number of canvases painted on both sides and in an unusually loose painting style. Although the artist would later take a dimmer view of his Moritzburg works from the summer of 1910, those same paintings would be posthumously counted among the high points of his Expressionist output. The figures here mark both the first and last time the artist would so sketchily render his subjects. Also noteworthy is the abstracted line of male nudes in the background: conveyed with just a few angular brushstrokes, they recall the carved figures on a beam from the Palau archipelago in the South Pacific – work Pechstein had recently encountered at the ethnological museum in Dresden. And yet the artists’ experiments and newfound freedom came at the expense of others: their choice of children as nude models in the search for simplified expression and new pictorial motifs can be seen quite critically in retrospect. Pechstein held onto the work throughout his life. It was monogrammed after his death, presumably by his widow, and dated a year too early, giving rise to the erroneous date of origin that can still be found in a number of publications today.

(Marwa )
(مروه )
(Aya Soika )
About the Work
(Sonja Eismann )
(Anwar ) Eyes
(Anwar ) Yellow and Black
(Bassel ) Something different
(Rama ) Sky
(Dani ) Mood
(Kifan ) Winter
(Marwa ) Secret