In German painting there is hardly a parallel to the light-filled paintings of Max Stern. The vitality of the brush stroke, the light saturated color and the blue shadows suggest the knowledge of French impressionism.
In the Rhenish art after 1900, these paintings represent the departure for a new style, which, together with Richard Bloos, Willy Lucas and Max Clarenbach, finds further followers and thus a broader basis.
Stern's training at the Dusseldorf Academy from 1888-92 did not convey much more than the foundations of painting, which he consolidated in Munich from 1892 to 1994, before developing his own painting style, which was relatively isolated in the Rhineland. Urban picture themes, places animated by people in a bright and colorful color or market and street scenes characterize the best compositions of Max Stern and give them already around the turn of the century an international flair. On numerous journeys Stern had become acquainted with the European, above all French, tendencies of the new open-air painting and processed in his works independently and unmistakably.