Between 1909 and 1910, Pechstein's work underwent a decisive transformation, evolving into a mature and daring form of Expressionism. His first stay in Nida was particularly significant for this transformation. The young artist experienced rapid development in the small fishing village on the Curonian Spit, which proved decisive for his future work. Aya Sioka wrote: “The first stay in Nida was the beginning and the pinnacle of Pechstein’s artistic career.” (quoted from: Max Pechstein. Ein Expressionist aus Leidenschaft, Munich 2010, p. 104). The “Curonian colors” were an essential source of inspiration, about which Pechstein reported to his fellow “Brücke” artist Erich Heckel as follows: “The Curonian colors are blue and green, lots of blue […] everything is very picturesque” (quoted from: ibid. p. 103). Around 30 paintings, including some 15 landscapes and a large number of portraits of locals, represent the fruitful artistic harvest of this summer, which Pechstein mainly spent barefoot in the dunes and on the sea. The only drawback for the artist was the lack of nude models. A deficit that Pechstein quickly overcame back in Berlin with his legendary nude paintings of his new muse and later wife Charlotte “Lotte” Kaprolat.
The journey from the bustling capital Berlin to the quiet and untouched village of Nida on the Curonian Spit took about ten days, although the place was by no means unknown to the artists of the time. Lovis Corinth, for example, had already painted in Nida during his studies in Königsberg. The artist Erst Mollenhauer recalls the beginnings of the Nida artist colony with the following words: “While Worpswede was already the focus of artistic interest at the turn of the century, Nida was still in its slumber, only to awaken shortly before the First World War and become a gathering place for artists and people who sought an experience of unspoiled nature and detested any kind of glitz and glamour.” (quoted in: ibid. p. 102). Even Pechstein, who was the first Brücke artist to move from Dresden to Berlin in 1908 and who also loved big-city nightlife, music, dance, theater, and the circus, felt magically drawn to nature, the sea, and the lagoon landscape with its small fishermen's huts. Nida henceforth emerged as Pechstein's personal retreat and “painter's paradise” until the 1930s. He particularly appreciated the colors and the distinctive light, elements that inspired Pechstein to create the present painting in bold colors. With a detailed focus and broad brushstrokes, Pechstein confidently captured the path, huts, and nature, once again demonstrating his exceptional command of composition and color. In “Hütten” (Huts), Pechstein succeeded in capturing his sense of freedom, vastness, and lightheartedness on a clear summer day in an outstanding manner. Not surprisingly, many of the landscapes painted in Nida in 1909 are part of renowned international collections today, among them the Philadelphia Museum of Art, the Museo Thyssen-Bornemisza in Madrid, and the Museum Ludwig in Cologne. They are considered outstanding masterpieces of “Brücke” Expressionism, which by 1909 had already become too powerful and revolutionary for the Berlin Secession headed by Max Liebermann, which is why the works of the “Brücke” artists were ultimately rejected for the Secession's annual exhibition in 1910 and ended up on display in the protest exhibition of the New Secession, founded by those who had been denied, in a framer's shop on Rankestraße in Berlin. At the time, the revolutionary painting of the “Brücke” was far too daring and far too modern for Berlin’s artistic tastes, yet today it is considered one of the significant highlights of European Modernism. [JS]