The Outskirts of Marijampolė

When he lived in Paris, he joined the painters of the École de Paris. But his unique provincial world-view emerged clearly at the outset of his artistic career: ‘Even when he became a Parisian, he nevertheless remained in his heart a resident of Marijampolė’ (N. Frankas, 1939, Apžvalga, 24:7). Because he lost his parents so early in life, the painter focused his artistic activity on his family. His wife and son often sat for portraits, and even modelled for characters in everyday or biblical scenes. When he painted landscapes, portraits or figure compositions, Band did not seek to depict extreme situations, overly impressive natural phenomena, or decisive moments in the lives of his artistic characters. He was concerned with simple everyday details, because he saw them as being important in reflecting the reality of life.

Means of expression were important to Band as far as they enabled him to convey an idea. He developed an especially minimalist and elegant version of French Expressionism, with occasional bursts of Impressionism. He took care to limit the number of subjects and the range of colours and moods in his paintings. The charm of his pictures therefore lies in their simplicity. He mastered the sfumato technique, and with it he created a melancholic, lyrical mood. ‘Band became even more Jewish in cosmopolitan Paris. His trademark is sadness. Even his flowers bloom in a sad way. A drizzle of sadness is sprinkled across his paintings, landscapes and portraits’ (N. Frankas, 1939, Apžvalga, 24:7).

The large output of Max Band can be found mostly in the USA, but we can also see some of his works in Lithuanian and West European museums (especially in France and Germany), as well as in private collections around the world.

Source: Litvak Art in Private Lithuanian Collections. Compiler Gradinskaite, V. (2015). Vilnius: Lewben Art Foundation

Expositions: “Lithuania in Litvak Arts”, 6 June – 16 November, Tolerance Centre of the Vilna Gaon State Jewish Museum (Naugarduko St. 10/2, Vilnius). Curator Vilma Gradinskaitė

When he lived in Paris, he joined the painters of the École de Paris. But his unique provincial world-view emerged clearly at the outset of his artistic career: ‘Even when he became a Parisian, he nevertheless remained in his heart a resident of Marijampolė’ (N. Frankas, 1939, Apžvalga, 24:7). Because he lost his parents so early in life, the painter focused his artistic activity on his family. His wife and son often sat for portraits, and even modelled for characters in everyday or biblical scenes. When he painted landscapes, portraits or figure compositions, Band did not seek to depict extreme situations, overly impressive natural phenomena, or decisive moments in the lives of his artistic characters. He was concerned with simple everyday details, because he saw them as being important in reflecting the reality of life.

Means of expression were important to Band as far as they enabled him to convey an idea. He developed an especially minimalist and elegant version of French Expressionism, with occasional bursts of Impressionism. He took care to limit the number of subjects and the range of colours and moods in his paintings. The charm of his pictures therefore lies in their simplicity. He mastered the sfumato technique, and with it he created a melancholic, lyrical mood. ‘Band became even more Jewish in cosmopolitan Paris. His trademark is sadness. Even his flowers bloom in a sad way. A drizzle of sadness is sprinkled across his paintings, landscapes and portraits’ (N. Frankas, 1939, Apžvalga, 24:7).

The large output of Max Band can be found mostly in the USA, but we can also see some of his works in Lithuanian and West European museums (especially in France and Germany), as well as in private collections around the world.

Source: Litvak Art in Private Lithuanian Collections. Compiler Gradinskaite, V. (2015). Vilnius: Lewben Art Foundation

Expositions: “Lithuania in Litvak Arts”, 6 June – 16 November, Tolerance Centre of the Vilna Gaon State Jewish Museum (Naugarduko St. 10/2, Vilnius). Curator Vilma Gradinskaitė