Max Pinchinat 25.5" x 21.5" Femme Assise 1959 Oil on Board Unframed Painting-Published in Peintres Haitiens #2522GN-HA
Max Pinchinat 25.5" x 21.5" Femme Assise 1959 Oil on Board Unframed Painting-Published in Peintres Haitiens #2522GN-HA
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Description
Description
Max Pinchinat's "Femme Assise" captures a seated woman rendered in the artist's distinctive graphic language, where bold black outlines contain fields of blue, coral, ochre, and green in a composition that flattens form into pattern while retaining the warmth of the sitter's pose. Painted in 1959, this oil on board work reflects Pinchinat's place among the generation of Haitian artists who moved beyond the naive tradition toward a more modernist, structurally inventive approach, one that drew on Cubist fragmentation while remaining rooted in Caribbean color and rhythm. The figure's flowing auburn hair and patterned dress anchor the piece in a domestic interior, hinted at through the striped railing and chair visible behind her. Measuring 25.5 by 21.5 inches, the painting is published in Peintres Haïtiens, page 108, cementing its place within the documented history of twentieth-century Haitian art. Pinchinat remains a significant figure for collectors interested in the intersection of European modernism and Haitian artistic identity. We will provide a Certificate of Authenticity.
About this artist
About this artist
Max Pinchinat was a Haitian painter, critic, and cultural figure born in Port-au-Prince on June 24, 1925. After a brief military career reaching the rank of sub-lieutenant, he joined the Centre d'Art in 1947 and won a gold medal at the 1949 International Exhibition in Port-au-Prince. A leading voice in Haitian art criticism, Pinchinat wrote for Le Nouvelliste and Notre-Temps and co-founded the Foyer des Arts Plastiques in 1950, serving as its first president. In 1951, he relocated to Paris on a French government scholarship, eventually settling there permanently. Pinchinat exhibited across Haiti, France, the U.S., Mexico, and Germany between 1949 and 1961. Critic Gérald Alexis credits him with blending modern sensibility with Haitian popular art traditions, cementing his place in the history of modern Haitian painting. He died in November 1985.
