"lf you wish to get hold of the invisible, you must penetrate as deeply as possible into the visible". Max Beckmann might have been talking about his life as much as his brutally honest and dazzlingly choreographic paintings, for, when he died on a New York street corner in 1950, he had lived one of the most excoriatingly self-critical lives in modern art He left behind a body of work spanning five decades, work that found its direction and energy in the Paris of the 1920's. A magnet to artists, Paris gave Beckmann the creative competition he craved. Travelling there regularly (and settling there later), he mixed Freely with the likes of Matisse, Picasso and Delaunay, formulating a style that grew out of the passionate relationship between the German and French avant-garde. But Beckmann was always his own man, and while he soaked up the artistic fervour of the Parisian cafes and ateliers, he maintained a critical distance that allowed him to develop an intensely personal technique and oeuvre. Part Expressionist, part Cubist, Beckmann's art is one of self, cities and street-life, and this profusely and beautifully illustrated catalogue allows us finally to confirm Beckmann's pre-eminence in the most dynamic art scene of the Twentieth Century.
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Book Description
Editorial Reviews
Language Notes
Text: English (translation)
Original Language: German
Original Language: German
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Most Helpful Customer Reviews
5 of 5 people found the following review helpful:
3.0 out of 5 stars
Max Beckmann and Paris,
By "stlukesguildcleveland" (Cleveland, Ohio) - See all my reviews
This review is from: Max Beckmann and Paris: The Exhibition Catalogue (Jumbo Series) (Hardcover)
Max Beckmann's status as one of the giants of modernist painting is unquestionable. In light of the persistent development of "Neo-Expressionism", as well as the increasing importance of German art upon the contemporary art scene, his place within the pantheon of 20th century art grown increasingly significant. This reevaluation of Beckmann's oeuvre has been accompanied by a slew of recent museum exhibitions, including a showing of his triptychs at the Guggenheim in 1997, the 2003 retrospective in Paris, London and New York, and the "Max Beckmann and Paris" exhibition (seen in Zurich and St. Louis) for which this book served as the catalog.The goal of this book (and that of the exhibition it accompanied) is to explore the relationship of Max Beckmann to the artists and critics of the "school of Paris". The authors attempt to reject Beckmann's association with German Expressionism (and with the "provincial" world of German art in general) in a misguided attempt to elevate our opinion of his work by placing it instead within the "greater" context of the Paris-based modernist art as a whole. Comparisons are made between Beckmann's work and that of such contemporaries as Picasso, Braque, Leger, Matisse, and Rouault. The authors draw attention to similarities in theme and subject (the female nude, still life, the circus and theater), and to such formal issues as the handling of color and line. They also explore Beckmann's (often frustrated) attempts at achieving greater recognition by the art critics and public in Paris. There are a number of interesting connections drawn between the works of Beckmann and that of his Parisian counterparts, especially through comparisons of individual paintings. The relationships revealed between Beckmann and Rouault are especially persuasive, yet this, in itself, argues against the author's goals, as Rouault was something of an outsider in the Paris art world, and more of an "expressionist" himself. Perhaps the strongest aspect of this book is its copious use of side-by-side color reproductions comparing works. Readers familiar with Beckmann, however, may be disappointed with the lack of consideration (or reproductions) of any the artist's most distinctive and/or characteristic works, such as his celebrated self- portraits, triptychs, and historical/mythological paintings. Beckmann's stature does not need rescuing (in relationship to his French counterparts), because he stands clearly as one of the giants of Western art history. If you are looking for an introduction to Beckmann's art and his achievements, I would suggest you look elsewhere (perhaps the Museum of Modern Art's recent publication "Max Beckmann", or better yet, "Max Beckmann, Retrospective" published by Prestel-Verlag). If, however, you are well acquainted with Beckmann's work, this book offers a number of unique perspectives which might be of interest.
4.0 out of 5 stars
Conquer Paris to conquer the World,
By drkhimxz (Freehold, NJ, USA) - See all my reviews
This review is from: Max Beckmann and Paris: The Exhibition Catalogue (Jumbo Series) (Hardcover)
Max Beckmann had an intricate relationship to the city of Paris. He came first to learn and second to become part of the international elite of art which included Picasso, Matisse and Leger.The first goal he achieved, the second he did not. In relatively simple terms (for authors dealing with Beckmann's complexity) this monograph, an exhibition catalog, seeks to enlighten the reader with regard to these two features of his approach. While speaking to his paintings and those from whom he learned, there is little of the analysis which his approach usually evokes. The writing is straightforward, the text clear and understandable to the lay reader. As another reviewer remarks, this is intended for the non-professional who already has some (though not very much) knowledge of the artist.It provides one with some aspects of the artistic interrelationship of Beckmann to a number of artists working in France as well as well as some sense of the people and places which made up his Paris.
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