Welcome/Artist Search Top 30 Most Popular Artists Monthly Features Art Museum Sites Worldwide Fine Art Links More About Us The Most Efficient Ad Targeting in the World Popup Glossary of Art-Related Terms

                    
Artcyclopedia

Feature Archive
                    
 

Mad Max



Max Beckmann at the Museum of Modern Art, Queens, New York


By Joseph Phelan
 
 
Upon finishing Witness, the memoirs of Whittaker Chambers, the former Communist who became an enemy of Stalinism, André Malraux complimented the author: You have not come back from hell empty handed.

Visitors may want to say something similar after viewing the 133 works in the Max Beckmann retrospective currently at the Museum of Modern Art Queens. If Beckmann (1884-1950) is the German painter of the catastrophic first half of the twentieth century, he earned his title the hard way. He painted from the center of the inferno.

While Beckmann was a man of his time, he did not fit his time, either in the largeness of his artistic ambition or in the variety and complexity of his approach. As exhibition curator Robert Storr observes, Beckmann "painted the enigmas and the contradictions of the twentieth century in ways that resonate profoundly in the unsettled reality of the twenty-first century. He painted pictures about human passions and predicaments which are impossible to ignore".

Beckmann's astonishing talent for the representation of beauty was manifest early on in his Young Men by the Sea (1905). This classical composition of naked youths, deep in meditation while one plays the flute, could be a rendition of the Greek gods. With its "noble simplicity and quiet grandeur" it is a brilliant expression of the Germanic vision of Classical Greece, made famous by Johann Joachim Winckelmann and Wolfgang Goethe in the late eighteenth century. The painting brought him gold and glory and a winter's study in Florence.

But it was two other German thinkers of the nineteenth century who more profoundly influenced Beckmann's thinking about the purpose of art. As an art student he read Arthur Schopenhauer, who is best known as the philosopher of pessimism. Carl Jung explained the widespread appeal of this resolutely non-academic thinker to so many nineteenth century artists:

He was the first to speak of the suffering of the world, which visibly and glaringly surrounds us, and of confusion, passion, evil -- all those things which the [other philosophers] hardly seemed to notice and always tried to resolve into all-embracing harmony and comprehensibility. Here at last was a philosopher who had the courage to see that all was not for the best in the fundaments of the universe.
[Memories, Dreams, Reflections, Vintage Books, 1961, p. 69]
 
Schopenhauer inevitably left him open to an even greater philosophical influence: Frederic Nietzsche. Nietzsche's first book, The Birth of Tragedy, caused a sensation throughout Europe by sweeping away the old formula about the Greeks of Goethe and Winckelmann. Nietzsche went about "explaining" the suffering, confusion, passion and evil of Greek tragedy for a contemporary audience. He did so by uncovering the source of the tragic world view in the clash between the "Apollonian" drive for reason, law and logical order, and the wild, instinctual, amoral forces in life which were symbolized for the Greeks by the Dionysus – the god of intoxication.

Myriads of artists in pre-World War I Europe went around calling themselves Nietszchians largely on the basis of this celebration of the Dionysian. Beckmann's concerns went deeper. He was irresistibly drawn to the tragedy of human life and looked to become a master of the large scale history painting which traditionally could capture it. When his early works like The Earthquake in Messina (1909) and The Sinking of the Titanic (1912) failed to win the approval of critics, he was baffled. He faced the problem of all history painters since the invention of the photography. How could the painter, in the cool of the study, compete with the immediacy and authenticity of the camera?

So Beckmann went in search of what only a painter could do. He found advice in several quarters. On a visit to Paris he met Edvard Munch (who illustrated an edition of Nietzsche's Thus Spake Zarathustra), who encouraged the younger man to follow the fantastic style of his own famous vision of subjective horror - The Scream. On a trip to Geneva he encountered Ferdinand Hodler, who showed him how to do historical and mythological themes in firmly choreographed murals.

But it was at Colmar that he saw something truly awesome: the fantastic Isenheim Altarpiece of Matthias Grünewald, designed for the Hospital Order of St. Anthony. Intended to be seen daily by the sick, the altarpiece shows the demonic temptation of St. Anthony and the gruesome wounds of the crucified Christ in the most graphic detail. The expressive intensity of the work and its complex enfolding format fascinated Beckmann. He now had the technique and the template to capture human suffering in a way no photographer could... All he needed was the right contemporary subject.

Beckmann's service as a medical orderly in World War I supplied the necessary horrific subject matter. His service as a medical corpsman in the trenches of Flanders nearly drove him mad, and he was invalided out of the army in 1915, suffering from fits of hallucination and unbearable depression. As the famous Self-Portrait with Red Scarf of 1917 shows, he was ferociously concentrated, willfully intense, and deeply unhappy.

At this time Beckmann began to speak of "the infinite space" whose foreground has always got to be "filled with some rubbish or other, so as to disguise its dreadful depth." This element in his own theory of art was but a reflection of the fact that Beckmann himself was now prone to a keen feeling of total abandonment and desolation. He was in a constant struggle to overcome his own personal horror vacui. With a view to winning this struggle he decided to become a recorder of the unofficial history – the nightmare of history, so to speak - of a Europe gone mad with cruelty, ideological murder, and deprivation, as in Family Picture (1920) and in his masterpiece of the period, The Night (1918-19).

"The sole justifications of our existence as artists, superfluous and egotistic though we are, are to confront people with the image of their destiny." This is Beckmann but it also sounds like Adolf Hitler, the would-be art student rejected by the schools in Vienna who, as a result, lived within the shadow of the label "failed artist." At a later stage, this would-be artist's government held the infamous "Entartete Kunst" ("Degenerate Art") show which opened in Munich on June 26, 1937. Among the 730 controversial works gathered there by the Nazi curators were ten paintings by Beckmann, including his 1917 self-portrait. There were more works by Beckmann in the show than by any other living artist.

Shortly after the exhibit opened, Beckmann left Germany for Amsterdam. He quickly painted Hell of the Birds (1938), which depicts him being flayed alive by his Nazi critics. After the war he moved to the United States to teach and paint. Like many exiles and émigrés to America, he must have felt like The Acrobat on the Trapeze who might slip at any time and become the Falling Man. Yet in The Argonauts (1950), he returns to his great themes of aspiration and ambition, tragedy and transcendence with masterful assurance and command. Here he was finally able to fulfill his greatest wish:

Really I only wanted to paint beautiful pictures.





Exhibition Catalogue
Exhibition Catalogue

Edited by Sean Rainbird
Essays by Robert Storr, et al.
30% off at Amazon.com
          • Max Beckmann
       at the Queens location of the Museum of Modern Art, New York
              June 26–September 29, 2003


More about Max Beckmann...


Click here to see more images from the exhibition...
      
 
 
 
 
Max Beckmann: Self-Portrait with Red Scarf
Self-Portrait with Red Scarf
 
 
 
 
 
 

 
 
 
 
 
 
Max Beckmann: Hell of Birds (detail)
Hell of Birds (detail)
 
 
 
 
 
 

 
 
 
 
 
 
Max Beckmann: The Acrobat on the Trapeze
The Acrobat on the Trapeze



 

Past Articles

July, 2003
      Marsden Hartley: The Return of the Native, by Joseph Phelan

June, 2003
      Jean-Antoine Houdon: Sculptor of the Enlightenment, by Joseph Phelan

May, 2003
      Frederic Remington's Nocturnes, by Joseph Phelan

March, 2003
      Magnificenza! Titian and Michelangelo, Manet and Velazquez, by Joseph Phelan

February, 2003
      Masterful Leonardo and Graphic Dürer, by Joseph Phelan

January, 2003
      Favorite Online Art Museum Features, by Joseph Phelan
      Studies for Masterpieces, by John Malyon

2002
      Advent Calendar 2002, narrated by Joseph Phelan
      Portrait of the Artist as a Serial Killer, by Joseph Phelan
      Renoir's Travelling, Bonnard's "At Home", by Joseph Phelan
      The Philosopher as Hero: Raphael's The School of Athens, by Joseph Phelan
      The Greatest Works of Art of Western Civilization
      Celebrating Heroes; Celebrating Benjamin West, by Joseph Phelan
      Chasing the Red Deer into the American Sublime (Education and the Art Museum, Part II), by Joseph Phelan
      Planning Your Summer Vacation, by Joseph Phelan
      Education and the Art Museum, Part I, by Joseph Phelan
      Unsung Griots of American Painting, by Joseph Phelan
      The British Museum COMPASS Project, interview by Joseph Phelan
      Robert Hughes, Time Magazine Art Critic: Biography and Writings

2001
      Software review: Le Louvre: The Virtual Visit on DVD-ROM, by Joseph Phelan
      Tragedy and Triumph at Arles: Van Gogh and Gauguin, by Joseph Phelan
      Her Last Bow: Sister Wendy in America, by Joseph Phelan
      Love, Death and Resurrection: The Paintings of Stanley Spencer, by Joseph Phelan
      Who is Rodin's Thinker?, by Joseph Phelan
      Celebrations North and South, by Joseph Phelan
      Rubens and his Age, by Joseph Phelan
      Great Reproductions of Great Paintings
      The Passion of Christ, by Joseph Phelan
      Edouard Manet: Public Spaces, Private Dreams, by Joseph Phelan
      Henry Moore and the British Museum: The Great Conversation, by Joseph Phelan

2000
      Notorious Portraits, Part II, by John Malyon
      Notorious Portraits, Part I, by John Malyon
      The Other Michelangelo, by Joseph Phelan
      The Art of Drawing, by Joseph Phelan
      Poussin and the Heroic Landscape, by Joseph Phelan
      Great Art Museums Online, by Joseph Phelan
      Venetian Painting and the Rise of Landscape, by Joseph Phelan
      Forbidden Visions: Mythology in Art, by Joseph Phelan
      Themes in Art: The Passion of Christ, by Joseph Phelan
      Web site review: Christus Rex
      Web site review: National Gallery of Art, Washington, D.C., by Joseph Phelan
      Online exhibit review: Inuit Art: The World Around Me, by John Malyon
      Poll: Who is Producing the Most Interesting Art Today? (Results)
      Poll: Who is Producing the Most Interesting Art Today? (Part II)

1999
      Poll: Who is Producing the Most Interesting Art Today? (Part I)
      Spotlight on The Louvre Museum
      Spotlight on Impressionism
      Spotlight on Optical Art
      Spotlight on Animals in Art
      Spotlight on Surrealism
      Spotlight on Sculpture
      Spotlight on Women in the Arts
      Spotlight on The Golden Age of Illustration
      Spotlight on Vincent van Gogh
      Spotlight on Great Art