Artist: Peter Max
Title: Nicolae Gallerie
Medium: Mixed Media Original Acrylic Painting
Dimensions: 32" x 24"
Year: 1999
Inscription: Signed "Max" on the bottom front
Documentation: Includes Peter Max studio label with Studio number on back and confirmation of Studio Number from Peter Max Studio
Peter Max's "Nicolae Gallerie" (1999) is a mixed media original acrylic painting that demonstrates the artist's unmistakable command of color, form, and expressive gesture. At the center of the composition is a striking profile, rendered with Max's signature economy of line. The face, outlined in sweeping, confident strokes, emerges in stark contrast against a deep black background, creating a dramatic and minimalist foundation for the work.
From the figure's head bursts an overwhelming display of blooming flowers, painted in a dazzling spectrum of hues—reds, yellows, pinks, blues, and greens. These blossoms are executed with Max's bold brushwork, the strokes heavy, layered, and gestural, imbuing the piece with a sense of movement and vibrancy. The juxtaposition of the clean, minimal profile against the explosive burst of color above it encapsulates Max's ability to balance restraint with exuberance, and simplicity with opulence.
At 32 by 24 inches, the painting's scale enhances its visual impact, allowing both the stark profile and the riotous crown of flowers to resonate with commanding presence. The work bears Max's hand-signed signature “Max" on the bottom front, a hallmark of authenticity. It is further supported by extensive documentation, including the original Peter Max studio label with Studio Number affixed to the reverse, as well as written confirmation of the Studio Number from the Peter Max Studio.
With its bold palette, expressive brushwork, and confident linework, "Nicolae Gallerie" is a compelling example of Max's celebrated style and stands as a vibrant testament to his enduring legacy in contemporary American art.
About Peter Max
Peter Max (b. 1937) is a German-born American artist whose vivid color schemes and graphic style made him one of the most recognizable figures in postwar American art. Closely associated with the psychedelic movement of the 1960s, Max became a leading figure in merging fine art, popular culture, and commercial design.
Born Peter Max Finkelstein in Berlin, he and his family fled Nazi Germany in 1938, settling first in Shanghai, where he spent much of his childhood. Later, the family moved through Israel and France before arriving in the United States in the 1950s. This international upbringing exposed Max to diverse cultural traditions and shaped the eclectic visual vocabulary he later developed.
In New York, Max studied at the Art Students League, training in traditional painting and drawing before moving toward a more graphic, stylized approach. By the mid-1960s, his posters and prints—featuring bold color gradients, cosmic imagery, and flowing forms—became emblematic of the counterculture era. His instantly recognizable style quickly spread through mass media, cementing his reputation as a cultural figure as much as a fine artist.
Throughout the 1970s and 1980s, Max expanded his career with high-profile commissions. He created official artwork for the U.S. Bicentennial, Super Bowls, the World Cup, and the Statue of Liberty centennial, and designed postage stamps for the United States Postal Service. His patriotic imagery, portraits of American presidents, and recurring cosmic themes reflected both national identity and a universal optimism.
Critics have sometimes debated the commercial ubiquity of his work, yet Max's ability to synthesize popular design with fine art traditions secured his place in the lineage of Pop Art. Like Andy Warhol and Roy Lichtenstein, he blurred boundaries between art and mass culture, helping redefine how art functioned in an era dominated by media and reproduction.
Today, Peter Max's paintings, prints, and sculptures remain widely collected, and his work continues to appear in both museums and popular culture. His vibrant palette, stylized forms, and recurring motifs of cosmic landscapes and patriotic imagery have made him a lasting symbol of American art in the second half of the twentieth century.
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