Max Beckmann

The prodigal son

The prodigal son https://www.wikiart.org/en/max-beckmann/the-prodigal-son-1949

The Disillusioned II (Die Enttäuschten II)

The Disillusioned II (Die Enttäuschten II) https://www.brooklynmuseum.org/opencollection/objects/70669

Sinking of the Titanic

Sinking of the Titanic https://www.wikiart.org/en/max-beckmann/sinking-of-the-titanic-1912

Low Dive (Kaschemme)

Low Dive (Kaschemme) https://www.brooklynmuseum.org/opencollection/objects/70667

The Louis E. Stern Collection

Suburban Morning (Vorstadtmorgen) (plate 4) from Stadtnacht (City Night) http://www.moma.org/collection/works/20290

Studio (Female Nude and Sculpture)

Studio (Female Nude and Sculpture) https://www.slam.org/collection/objects/13446/

Lido

Lido https://www.slam.org/collection/objects/13429/

Self-Portrait in Bowler Hat

Self-Portrait in Bowler Hat https://www.slam.org/collection/objects/39008/

Gift of Samuel A. Berger

Portrait of Fridel Battenberg (Bildnis Fridel Battenberg) http://www.moma.org/collection/works/66376

Purchase

Sleeping Athlete (Schlafender Athlet) from Day and Dream http://www.moma.org/collection/works/111178

Purchase

Merry-Go-Round (Das Karussell) from Annual Fair (Jahrmarkt) http://www.moma.org/collection/works/70595

Abby Aldrich Rockefeller Fund

Plate (facing page 26) fromEbbi http://www.moma.org/collection/works/13813

King and Demagogue (König und Demagoge)

King and Demagogue (König und Demagoge) https://www.brooklynmuseum.org/opencollection/objects/62938

Gift of Leo Auerbach

Portrait of Frau Parcus I (Bildnis Frau Parcus I) http://www.moma.org/collection/works/66916

The Negro, plate 6 from the portfolio “Annual...

The Negro, plate 6 from the portfolio “Annual... https://www.slam.org/collection/objects/40633/

Gift of Curt Valentin

Self-Portrait http://www.moma.org/collection/works/81517

Still Life on Brown and Yellow (Champagne Bottles...

Still Life on Brown and Yellow (Champagne Bottles... https://www.slam.org/collection/objects/13437/

Abby Aldrich Rockefeller Fund

Evening (Self-Portrait with the Battenbergs) [Der Abend (Selbstbildnis mit den Battenbergs)] from Faces (Gesichter) http://www.moma.org/collection/works/66292

In Remembrance of Miss von Sch.

In Remembrance of Miss von Sch. https://www.slam.org/collection/objects/36968/

Woman standing in front of a building with two large trees on either side of her This fresh and spontaneous watercolor depicts the gardens of the Bavarian estate of the artist’s in-laws. Between 1930 and 1935, Max Beckmann and his wife, Mathilde “Quappi” von Kaulbach, often traveled to this house in the shadow of the Alps to escape the mounting political pressures in their hometown of Frankfurt. After Hitler became chancellor of Germany in 1933, Beckmann’s work was censored and labeled “degenerate.” He lost his teaching position at the Städel Art School in Frankfurt, and many of his exhibitions were canceled. The garden of the Kaulbach home became a retreat where Beckmann could sketch and paint in his signature style: bold, black lines and spontaneous brushstrokes.

Bavaria https://collections.artsmia.org/art/1184/

Johanna and Leslie J. Garfield Fund

Der Mensch ist kein Haustier (Man Is Not a Domestic Animal) http://www.moma.org/collection/works/9540

The Descent from the Cross

The Descent from the Cross https://www.wikiart.org/en/max-beckmann/the-descent-from-the-cross-1917

Johanna and Leslie J. Garfield Fund

Illustration for Scene 1 (plate facing page 8) from Der Mensch is kein Haustier (Man Is Not a Domestic Animal) http://www.moma.org/collection/works/9539

Café Music, plate 9 from the portfolio “Faces”

Café Music, plate 9 from the portfolio “Faces” https://www.slam.org/collection/objects/40646/

man smoking cigarette holding bell in L hand; sign on L reads [circus Beckm]; number one embossed into lower center of window mat In "Jahrmarkt" ("Annual Fair"), Max Beckmann imagines the world as a traveling carnival teeming with an eclectic cast of actors, dancers, and circus entertainers who perform in the theater of life. Beckmann casts himself as a carnival barker in the series’ opening plate, ringing a small bell to announce the show, and cajoling viewers to enter the Circus Beckmann, a curious realm of outsiders and misfits. Many of the protagonists are friends and acquaintances of the artist; he even includes his wife Minna in the series, who famously appears along with Beckmann balancing on a tightrope. As the scenes of the portfolio unfold, a pageant of players takes the stage: a tall man, a sharpshooter, a snake charmer, exotic dancers, musicians, and other circus entertainers perform in succession. In one plate from the series, Beckmann presents a carousal crowded with a diverse lot of humanity, an apt metaphor for the apparent aimlessness of life. The series was inspired in part by Beckmann’s visits to the Prater, a Viennese amusement park, where he observed the performers and visitors and sketched them from life. Justly celebrated for its incisive observations on the human condition, "Jahrmarkt" is a brilliant example of Beckmann’s mature graphic style and seminal publication of German Expressionism.

Der Ausrufer, from "Jahrmarkt" https://collections.artsmia.org/art/106301/

Theater, plate 8 from the portfolio “Faces”

Theater, plate 8 from the portfolio “Faces” https://www.slam.org/collection/objects/40645/

Study of a Woman Sewing

Study of a Woman Sewing https://www.slam.org/collection/objects/20362/

Shooting Gallery, plate 4 from the portfolio “Annual...

Shooting Gallery, plate 4 from the portfolio “Annual... https://www.slam.org/collection/objects/40631/

Purchase

Pierrot and Mask (Pierrot und Maske) (plate 30) from the illustrated book Deutsche Graphiker der Gegenwart (German Printmakers of Our Time) http://www.moma.org/collection/works/9037

Larry Aldrich Fund

Tamerlan http://www.moma.org/collection/works/64485