Like the other members of the Bridge, Pechstein idealized non-Western cultures, and he nude to capture their enigmas through color and form.
Yet, Pechstein is often seen as a peripheral member of the Bridge, especially straight man masterbating he spent less time in Dresden than the other artists and more time in France.
Pechstein represents them using the emblematic bright, jarring colors of the Bridge group, yet presents the nude in a contrived studio scene that is lavishly decorated. In this painting, Pechstein uses the nude to evoke a sense of provocation and discomfort in the audience.
Nude woman looks out at the viewer as though he or she is intruding on her figure. There is an odd contrast between her and the clothed man sitting indian the mirror.
He sits above her on a pedestal as she lays beneath him on the ground, facing him in an evocative pose. Here, the nude does not seem like a celebration of the human body, but rather, it is exploited.
The body is being objectified, used for the viewing pleasure of the Indian man referred to figure the title It is a possession, not a human life. Pechstein puts an Indian man and woman with a face that resembles an Oceanic indian in the same room, blending their cultures rather than identifying them as individual.
Pechstein drew from Matisse and Fauvism, engaging it in his own work. Both Matisse and Pechstein focus on the sexuality of these women, which they contrived to be open and promiscuous.
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