Max GEHLSEN, Portrait of Max GEHLSEN, 1914-1915, monochrome black and white photograph, 5.5 x 5 cm

Seemingly representing the artist, this is one of the personal documents retained in the written notebooks of Max GEHLSEN during his stay in France. It rests alongside three other portraits by the artist at different times. Comparison of this with the watercolour self-portrait shows the importance of photography in the origins of his work.

Departmental archives of Pas-de-Calais 47 FI 142_2

Max GEHLSEN, Dear Sirs, Margny-aux-cerises, 28 February 1915, watercolour on cardboard, 21 x 15 cm

This watercolour is the only self-portrait by the artist in the collection as conserved by the Regional archives. The other singularity of this watercolour is the inscription which is a title for the piece in French: « Bonjour messieurs » [Dear Sirs]. It is perhaps due to the fact that the model was seen in this suit by the French, a humoristic allusion of the occupation. Max GEHLSEN undoubtedly took inspiration from the photograph which shows him in a similar pose and setting. The uniform is the same, but some differences can be noted: The shape of his headgear, the direction of the pipe he is smoking, the pose of the artist and the light.

Departmental archives of Pas-de-Calais 47 FI 134_1

Max GEHLSEN, Verpillières, 1914-1915, monochrome black and white photograph, 9 x 5.5 cm

Departmental archives of Pas-de-Calais 47 FI 144_5

Max GEHLSEN, Castle at Verpillières, 8 February 1915, watercolour, gouache on cardboard, 15 x 29.5 cm

The work by Max GEHLSEN shows the Verpillères Castle on the left hand side, with the farm occupying the remainder of the width of the work. Such an illustration highlights the imposing character of the whole view.

Departmental archives of Pas-de-Calais 47 FI 83_1

Max GEHLSEN, Verpillières. Castle, 1914-1915, pencil on cardboard, 10.5 x 17 cm

This sketch is one of the seven preparatory drawings in the Max GEHLSEN collection. It is all the more interesting as it can be compared to the initial photograph and the watercolour painted from this sketch. It allows us to see another stage in the creative process. The perspective used is that of photography and illustrates the importance of this in the drafting process. Additional annotations indicate the colours used in the landscapes.

Departmental archives of Pas-de-Calais 47 FI 139_2

Max GEHLSEN, Verpillières. Castle, 1915, watercolour on cardboard, 20 x 29 cm

Departmental archives of Pas-de-Calais 47 FI 136_1

Max GEHLSEN, Noyon-Roye Road, 1914-1915, monochrome black and white photograph, 5.5 x 5.5 cm

Trees form a hedgerow along both sides of the road linking Noyon to Roye, in the Oise. The photograph is taken along the axis of the road. The camera is almost in the centre of the road, giving a lot of depth to the image. This photo, one of the personal mementos of the artist, during his time on the Western Front during the Great War, perhaps helped him to paint another of his watercolours which also shows the road from Noyon to Roye.

Departmental archives of Pas-de-Calais 47 FI 142_10

Max GEHLSEN, Roye-Noyon, 1914-1915, monochrome black and white photograph, 5.5 x 5.5 cm

This photograph of the road between Roye and Noyon, lined with trees without any foliage, without any visible traces of the war, was no doubt taken in winter. The slightly blurred photograph with a yellow stain is reminiscent of the watercolour which deals with the same subject from a different viewpoint. It is very likely that this was inspired from the extremely abrupt perspective of the completed work.

Departmental archives of Pas-de-Calais 47 FI 144_9

Max GEHLSEN, Roye-Noyon. The Road, 20 May 1915, watercolour, gouache on cardboard, 28 x 19.5 cm

This watercolour shows a portion of the road linking Roye to Noyon. There are two pathways along the length of the road, lined by trees planted in regular intervals. The work highlights these trees: Their shape and alignment fill two thirds of the entire watercolour. The road, shown in an oblique perspective, is simply a pretext to illustrate the greenery which runs alongside. Max GEHLSEN in all likelihood used two photographs which illustrated the same subject, but which were taken under slightly different viewpoints.

Departmental archives of Pas-de-Calais 47 FI 92_1

Max GEHLSEN, Noyon, 1914-1915, monochrome black and white photograph, 8 x 9 cm

The two towers on the western facade of Noyon cathedral appear from behind the surrounding houses. The angle of the perspective, used by GEHLSEN, shows a cleared foreground, with some people on horseback. The view goes as far as the towers of the cathedral which represent the horizon of the picture. This style, often present in the work of GEHLSEN, consolidates the majestic nature of the religious building, which seems to dominate the local life. Here once more the photographic medium is used as a complement and assistance to production of the watercolour.

Departmental archives of Pas-de-Calais 47 FI 142_12

Max GEHLSEN, Noyon. Cathedral, 27 May 1915, watercolour, gouache on cardboard, 14 x 21 cm

Nothing, or almost nothing, reminded us of the occupation or the war in this watercolour representing Noyon, aside the final hub of German troops on the road from Paris: Only a handful of civilians criss-crossed the streets, primarily women. In the background is the striking image of the cathedral. Using powerful lines (that of the left-hand pavement notably), the artist guides the glance of the onlooker towards the right hand side of the building.

Departmental archives of Pas-de-Calais 47 FI 39_2