Collection
Max Beckmann
Explore curated art prints selected for distinctive homes and considered interiors.
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The Duchess - Max BeckmannPrint · Framed · Canvas
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The Fire (Small Still Life) - Max BeckmannPrint
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Self-Portrait in Tuxedo - Max BeckmannPrint
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Night - Max BeckmannPrint
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Frau H.M. - Max BeckmannPrint
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Self-portrait with champagne glass - Max BeckmannPrint
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The Descent from the Cross - Max BeckmannPrint
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Wardrobe (Garderobe) - Max BeckmannPrint
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Portrait of Reinhard Piper - Max BeckmannPrint
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Woman with Candle - Max BeckmannPrint
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The Fall of Man - Max BeckmannPrint
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Tango - Max BeckmannPrint
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Magic Mirror - Max BeckmannPrint
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Café Music - Max BeckmannPrint
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Self-portrait - Max BeckmannPrint
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Weather Vane - Max BeckmannPrint
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Sleeping Athlete - Max BeckmannPrint
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Self-Portrait, Yawning - Max BeckmannPrint
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Declaration of War - Max BeckmannPrint
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Artist Biography
Max Beckmann
Beckmann was dismissed from his teaching post in Frankfurt the day after Hitler's 1937 speech denouncing "degenerate art". He left Germany that same evening and did not return. The speed of the departure, one speech, one night, one exile, defined the rest of his life.
He was born in Leipzig in 1884 and trained at the Weimar Academy. His early work was relatively conventional; the First World War, where he served as a medical orderly, shattered both his style and his psychology. The paintings that followed, dense, allegorical, packed with symbolic figures in compressed, claustrophobic spaces, resist easy classification. His monumental triptychs, painted in exile in Amsterdam and later St Louis, combine mythology, autobiography and contemporary history.
He remains one of the twentieth century's most ambitious figurative painters, comparable in scale and intention to Picasso but less interested in formal innovation than in moral weight. He died in New York in 1950, at sixty-five.
He was born in Leipzig in 1884 and trained at the Weimar Academy. His early work was relatively conventional; the First World War, where he served as a medical orderly, shattered both his style and his psychology. The paintings that followed, dense, allegorical, packed with symbolic figures in compressed, claustrophobic spaces, resist easy classification. His monumental triptychs, painted in exile in Amsterdam and later St Louis, combine mythology, autobiography and contemporary history.
He remains one of the twentieth century's most ambitious figurative painters, comparable in scale and intention to Picasso but less interested in formal innovation than in moral weight. He died in New York in 1950, at sixty-five.
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