Max Beckmann

by Stephan Lackner

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 Cézanne, but also Van Gogh, Blake, Rembrandt, Rubens and 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 also rooted in the imagery of medieval stained glass. Encompassing portraiture, landscape, still life, mythology and the fantastic, his work created a very personal but authentic version of modernism, combining this with traditional plasticity. Beckmann reinvented the triptych and expanded this archetype of medieval painting into a looking glass of contemporary humanity. From its beginnings in the fin de siècle up to its completion after World War II, Beckmann's work reflects an era of radical changes in both art and history. Many of Max 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.

Genres: Art, Nonfiction, Germany

95 pages, Unknown Binding

First published July 28, 2000