Although he had publicly criticized Franz Marc and the Blaue Reiter’s impulse toward abstraction and spirituality in 1912, harrowing experience of war led him to incorporate strategies of distortion, angularity, and exaggerated color. After war, settled in Frankfurt, but maintained ties to Berlin art circles.
Focused on urban themes, especially disaffection of postwar society, and often depicted life as a theater or circus in tightly compressed compositions, which he sometimes elaborated in portfolio format. In mid-1920s compositions became less crowded and more naturalistic.
Made a total of 373 prints, all black and white, with printmaking a major focus between 1914 and 1923. Preferred the scratchy texture of etching and drypoint, but also worked in lithography; made only nineteen woodcuts. Most were issued by leading dealer-publishers, including Paul Cassirer and J. B. Neumann, in Berlin, and Reinhard Piper, in Munich.
More than five hundred works removed from public collections by Nazis in 1937. Waited out World War II in Amsterdam, then assumed teaching positions in St. Louis and New York.
Starr Figura, German Expressionism: The Graphic Impulse, New York, The Museum of Modern Art, 2011
Max Beckmann dreamed up a world of actors, cabaret singers, heroes, and thugs, whose dramas unfold on city streets, at masquerades and carnivals, and in candlelit chambers. The artist himself is often part of the action, usually costumed, but identifiable by his enormous head and scowling face. At a time when many of his German contemporaries were experimenting with abstraction, Beckmann resolutely pursued the possibilities of figuration and narrative, peppering his paintings with fragments of myths, bible stories, and opaque allegories—often interspersed with scenes and figures from his life.
After he received initial recognition for history paintings and portraits, with muted palettes, an impressionistic paint handling, and references to Old Masters like Michelangelo and Peter Paul Rubens, the course of Beckmann’s life and art shifted at the outbreak of World War I. He joined the medical corps, and at first he was energized by the turmoil of war, writing “my art can gorge itself here.”1 But the action soon ended for him after he had a nervous breakdown in 1915. Over the next decade, he captured the doomed Weimar Republic with acidic cynicism, creating jam-packed, riotously colored canvases populated by a cast of characters enacting the chaos of postwar urban life. He also focused on etching and lithography in these years, producing several black-and-white print portfolios, including Hell (1918–19), which features scenes of a devastated Berlin. The city’s inhabitants torture one another, clamp their eyelids shut, and dance frantically.
In the early 1930s, the National Socialist press began to attack Beckmann’s work, and in 1933, soon after Hitler was appointed chancellor of Germany, the artist was dismissed from his teaching position at Frankfurt’s Städel Art School, and his paintings at the Berlin National Gallery were removed from view. It was in this time of mounting terror and uncertainty that Beckmann began to paint the triptych Departure (1932–35), in which he has juxtaposed restraint and freedom, compression and openness, violence and refuge. Its outer panels are consumed by scenes of torture in a dimly lit theater, while in the center panel archaic figures appear on a boat in calm seas under a clear, bright sky.
In 1937, on the day after many of his works were included in the Degenerate Art exhibition, Beckmann left for Amsterdam, where he lived during World War II. He remained active in exile, turning to mythic, parabolic images unmoored from a particular time or place. In 1947, he was able to immigrate to America, where he taught in St. Louis and New York. Sharing his own mantra with his students, he often told them, “work a lot…simplify…use lots of color…make the painting more personal.”
via: The Museum of Modern Art
Max Carl Friedrich Beckmann (February 12, 1884 – December 27, 1950) was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement. In the 1920s, he was associated with the New Objectivity (Neue Sachlichkeit), an outgrowth of Expressionism that opposed its introverted emotionalism. Even when dealing with light subject matter like circus performers, Beckmann often had an undercurrent of moodiness or unease in his works. By the 1930s, his work became more explicit in its horrifying imagery and distorted forms with combination of brutal realism and social criticism, coinciding with the rise of nazism in Germany.
Life
Max Beckmann was born into a middle-class family in Leipzig, Saxony. From his youth he pitted himself against the old masters. His traumatic experiences of World War I, in which he volunteered as a medical orderly, coincided with a dramatic transformation of his style from academically correct depictions to a distortion of both figure and space, reflecting his altered vision of himself and humanity.
He is known for the self-portraits painted throughout his life, their number and intensity rivaled only by those of Rembrandt and Picasso. Well-read in philosophy and literature, Beckmann also contemplated mysticism and theosophy in search of the “Self”. As a true painter-thinker, he strove to find the hidden spiritual dimension in his subjects (Beckmann’s 1948 Letters to a Woman Painter provides a statement of his approach to art).
Beckmann enjoyed great success and official honors during the Weimar Republic. In 1925 he was selected to teach a master class at the Städelschule Academy of Fine Art in Frankfurt. Some of his most famous students included Theo Garve, Leo Maillet and Marie-Louise von Motesiczky. In 1927 he received the Honorary Empire Prize for German Art and the Gold Medal of the City of Düsseldorf; the National Gallery in Berlin acquired his painting The Bark and, in 1928, purchased his Self-Portrait in Tuxedo. By the early 1930s, a series of major exhibitions, including large retrospectives at the Städtische Kunsthalle Mannheim (1928) and in Basel and Zurich (1930), together with numerous publications, showed the high esteem in which Beckmann was held.
His fortunes changed with the rise to power of Adolf Hitler, whose dislike of Modern Art quickly led to its suppression by the state. In 1933, the Nazi government called Beckmann a “cultural Bolshevik” and dismissed him from his teaching position at the Art School in Frankfurt. In 1937 the government confiscated more than 500 of his works from German museums, putting several on display in the notorious Degenerate Art exhibition in Munich. The day after Hitler’s radio speech about degenerate art in 1937, Beckmann left Germany with his second wife, Quappi, for the Netherlands.
For ten years, Beckmann lived in self-imposed exile in Amsterdam, failing in his desperate attempts to obtain a visa for the United States. In 1944 the Germans attempted to draft him into the army, although the sixty-year-old artist had suffered a heart attack. The works completed in his Amsterdam studio were even more powerful and intense than the ones of his master years in Frankfurt. They included several large triptychs, which stand as a summation of Beckmann’s art.
In 1947, Beckmann took a position at the St. Louis School of Fine Arts at Washington University. During the last three years of his life, he taught at Washington University (alongside the German-American painter and printmaker Werner Drewes), and at the Brooklyn Museum. He came to St. Louis at the invitation of Perry T. Rathbone, director of the Saint Louis Art Museum. Rathbone arranged for Washington University to hire Beckmann as an art teacher, filling a vacancy left by Philip Guston, who had taken a leave. The first Beckmann retrospective in the United States took place in 1948 at the City Art Museum, Saint Louis. In St. Louis, Morton D. May became his patron and, already an avid amateur photographer and painter, a student of the artist. May later donated much of his large collection of Beckmann’s works to the St. Louis Art Museum. Beckmann also helped him learn to appreciate Oceanian and African art.
After stops in Denver and Chicago, he and Quappi took an apartment at 38 West 69th Street in Manhattan. In 1949 he obtained a professorship at the Brooklyn Museum Art School.
Beckmann suffered from angina pectoris and died after Christmas 1950, struck down by a heart attack at the corner of 69th Street and Central Park West in New York City, not far from his apartment building. As the artist’s widow recalled, he was on his way to see one of his paintings at the Metropolitan Museum of Art. Beckmann had a one-man show at the Venice Biennale of 1950, the year of his death. also in that final year of 1950 he painted the work Falling Man which is considered both a reflection on mortality and eerily predictive of the jumpers and other doomed persons falling from the World Trade Center Towers on September 11, 2001.
Themes
Unlike several of his avant-garde contemporaries, Beckmann rejected non-representational painting; instead, he took up and advanced the tradition of figurative painting. He greatly admired not only Cézanne and Van Gogh, but also Blake, Rembrandt, and Rubens, as well as Northern European artists of the late Middle Ages and early Renaissance, such as Bosch, Bruegel, and Matthias Grünewald. His style and method of composition are partially rooted in the imagery of medieval stained glass.
Engaging with the genres of portraiture, landscape, still life, and history painting, his diverse body of work created a very personal but authentic version of modernism, one with a healthy deference to traditional forms. Beckmann reinvented the religious triptych and expanded this archetype of medieval painting into an allegory of contemporary humanity.
From his beginnings in the fin de siècle to the period after World War II, Beckmann reflected an era of radical changes in both art and history in his work. Many of Beckmann’s paintings express the agonies of Europe in the first half of the 20th century. Some of his imagery refers to the decadent glamor of the Weimar Republic’s cabaret culture, but from the 1930s on, his works often contain mythologized references to the brutalities of the Nazis. Beyond these immediate concerns, his subjects and symbols assume a larger meaning, voicing universal themes of terror, redemption, and the mysteries of eternity and fate.
His Self-Portrait with Horn (1938), painted during his exile in Amsterdam, demonstrates his use of symbols. Musical instruments are featured in many of his paintings; in this case, a horn that the artist holds as if it were a telescope by which he intends to explore the darkness surrounding him. The tight framing of the figure within the boundaries of the canvas emphasize his entrapment. Art historian Cornelia Stabenow terms the painting “the most melancholy, but also the most mystifying, of his self-portraits”.
Legacy
Many of Beckmann’s late paintings are displayed in American museums. He exerted a profound influence on such American painters as Philip Guston and Nathan Oliveira, and, indeed, on Boston Expressionism, the art movement that later expanded nationally and is now called American Figurative Expressionism. His posthumous reputation perhaps suffered from his very individual artistic path; like Oskar Kokoschka, he defies the convenient categorization that provides themes for critics, art historians and curators. Other than a major retrospective at New York’s Museum of Modern Art, the Boston Museum of Fine Arts and the Art Institute of Chicago in 1964–65 (with an excellent catalogue by Peter Selz), and MoMA’s prominent display of the triptych Departure, his work was little seen in much of the United States for decades. His 1984 centenary was marked in the New York area only by a modest exhibit at Nassau County’s suburban art museum. The Saint Louis Art Museum holds the largest public collection of Beckmann paintings in the world and held a major exhibition of his work in 1998.
Since the late 20th century, Beckmann’s work has gained an increasing international reputation. There have been retrospectives and exhibitions at the Museum of Modern Art (1995) and the Guggenheim Museum (1996) in New York, and the principal museums of Rome (1996), Valencia (1996), Madrid (1997), Zurich (1998), Munich (2000), Frankfurt (2006) and Amsterdam (2007). In Spain and Italy, Beckmann’s work has been accessible to a wider public for the first time. A large-scale Beckmann retrospective was exhibited at the Centre Pompidou in Paris (2002) and Tate Modern in London (2003). In 2011, the Städel in Frankfurt devoted an entire room to the artist in its newly fitted permanent exhibition of modern art.
A Max Beckmann Gesellschaft was first established by Wilhelm Hausenstein, Benno Reifenberg [de]. and others. The Max Beckmann Archiv was established in 1977 and is under the auspices of the Bavarian State Painting Collections.
In 1996, Piper, Beckmann’s German publisher, released the third and last volume of the artist’s letters, whose wit and vision rank him among the strongest writers of the German tongue. His essays, plays and, above all, his diaries are also unique historical documents. A selection of Beckmann’s writings was issued in the United States by University of Chicago Press in 1996.
In 2003, Stephan Reimertz, Parisian novelist and art historian, published a biography of Max Beckmann. It presents many photos and sources for the first time. The biography reveals Beckmann’s contemplations of writers and philosophers such as Dostoyevsky, Schopenhauer, Nietzsche, and Richard Wagner. The book has not yet been translated into English.
In 2015, the Saint Louis Art Museum published Max Beckmann at the Saint Louis Art Museum: The Paintings, by Lynette Roth. It is a comprehensive look at the Beckmann paintings at SLAM, the largest collection of them in the world, and places both artist and works in a broader context.
via Wikipedia
Summary of Max Beckmann
After enduring a “great injury to his soul” during World War I, Max Beckmann channeled his experience of modern life into expressive images that haunt the viewer with their intensity of emotion and symbolism. Despite his early leanings toward academicism and Expressionism, he became one of the main artists associated with the Neue Sachlichkeit (New Objectivity) movement and created scathing visual critiques of the tumultuous interwar period. In later works, Beckmann strove toward open-ended stories that juxtaposed scenes from reality, dreams, myths, and fables. Throughout his career, he firmly opposed the turn toward abstract art and maintained his desire to “get hold of the magic of reality and to transfer this reality into painting.” Beckmann’s prowess at subtly layering figures and signs, as well as color and shadow, allowed him to successfully translate his reality into mesmerizing narrative paintings throughout his prolific career.
via: theartstory.org
Max Beckmann is perhaps the best known German expressionist artist.
Already an established artist when the First World War broke out, Beckmann joined the German Army and served in the medical corp until he had a nevous breakdown that resulted in his discharge in 1915.
When the war ended in 1918 he published a series of lithographic prints called Die Hölle (“Hell”), which were searing portrayals of war’s brutality, and also a condemnation of the bourgeois society that supported the barbarity.
In 1925 he took a residency in the Master Studio of Staedel College of Arts and Crafts in Frankfurt, and by 1929 had been appointed a professorship in the college. In 1931 the Nazis began to attack Beckmann’s work, and in 1937 the fascists officially banned his art. Over 500 of his artworks were removed from German museums. Taking the hint, Beckmann and his wife emigrated to Paris and then Amsterdam. After the Nazis invaded the Netherlands in 1940, Beckmann burned his diaries, abandoned his possessions, and fled with his wife to the United States. The artist found a fair amount of success in America, and passed away in New York City on December 27th, 1950.
Beckmann dated The Night so precisely – August 1918 – March 1919, because he wanted the viewer to be aware of the historic events it portrayed. The November Revolution that overthrew the corrupt monarchy occured in 1918, unleashing tremendous chaos and violence across the land, and 1919 was significant because a massive general strike had been cruely repressed by the forces of reaction, a precursory event to the rise of the fascist state. Beckmann’s painting aluded to the madness engulfing Germany, and he used private metaphors to achieve that end. His painting depicts bailiffs who have broken into a tiny attic room were they abuse, torture, and rape a helpless family. The room the artist painted was a stage where all of the madness and confusion in Germany would play out. Beckmann said he painted the work in order to “give mankind a picture of their fate.” Beckmann died in 1950.
via: art-for-a-change.com