Declaration of War - Max Beckmann
Archival giclée
Ready to hang
Secure checkout
Made to order
Description
A 1914 drypoint etching by Max Beckmann depicting a Berlin crowd reacting to the start of the First World War.
Max Beckmann produced this drypoint etching in 1914, shortly after the start of the First World War. The work depicts a crowd in Berlin reacting to the news of the conflict. Beckmann uses the drypoint technique to create jagged, aggressive lines that convey a sense of immediate tension. The composition is compressed, with faces overlapping in a shallow space. This lack of depth creates a feeling of claustrophobia and collective unease. The figures in the foreground appear absorbed in newspapers or lost in thought. Their features are sharp and angular, a departure from the more traditional style of Beckmann's earlier career. One man in a bowler hat looks down at a broadsheet, while others stare out with wide, hollow eyes. In the upper left, a face is turned in profile, its mouth slightly open. To the right, a figure with a cap stares directly at the viewer with a grim expression. The background is a dense thicket of cross-hatching and scratched lines, suggesting the chaotic energy of the city streets. Beckmann's use of the drypoint medium is particularly effective here. Unlike standard etching, drypoint involves scratching directly into the copper plate, leaving a ridge of metal called a burr. This burr holds extra ink, resulting in the fuzzy, saturated lines seen in the darker areas of the crowd's clothing and hair. This creates a harsh visual rhythm across the plate. Beckmann served as a medical orderly on the front lines soon after completing this print. His experiences during the war led to a nervous breakdown and a permanent shift in his artistic direction. This specific image marks the beginning of his move towards the distorted, symbolic style that defined his later work. It is a document of a specific historical moment, recorded with the psychological intensity typical of German Expressionism. The print avoids glorifying the event, focusing instead on the internalised reactions of the city's inhabitants.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Declaration of War - Max Beckmann
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Why Choose Us ?
100% Satisfaction Guarantee
Fast Shipping
Museum-Quality Materials
Artist Biography
Max Beckmann
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.
You May Also Like

