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Beckmann dio clases en Frncfort del Meno desde 1915, pero fue despedido de su
puesto por el partido Nazi en 1933. A principios de los aos 30, visit Pars con
frecuencia para pintar y fue durante esta poca que empez a usar los trpticos, influido
en parte por El Bosco.
Sus cuadros fueron clasificados como degenerados (ver Entartete Kunst) por los Nazis
en 1937 y Beckmann se estableci en msterdam.
En 1947, abandon msterdam para establecerse esta vez en los Estados Unidos.
Primero, Misuri y, ms tarde, Nueva York. Muri en 1950 por un ataque al corazn
mientras se diriga al Museo Metropolitano para asistir a una exposicin de su obra.
A lo largo de su vida Max Beckman slo realiz ocho esculturas en bronce. Reproducen
figuras humanas en movimiento, como bailarines haciendo el spagat o el pino puente.
Estas piezas tan especiales fueron expuestas en el Instituto Stdel en Frncfort del
Meno.1
Publicaciones y bibliografia[editar editar cdigo]
von Erffa, Hans Martin: Gpel, Barbara und Erhard (1976). Max Beckmann:
Katalog der Gemlde. (2 vls) Berna.
Hofmaier, James (1990). Max Beckmann: Catalogue raisonn of his Prints.
Berna.
von Wiese, Stephan (1978). Max Beckmann: Das zeichnerische Werk 1903
1925. Dsseldorf.
Belting, Hans (1989). Max Beckmann: Tradition as a Problem of Modern Art.
New York.
Lackner, Stephan (1969). Max Beckmann: Memoirs of a Friendship. Coral
Gables.
Lackner, Stephan (1977). Max Beckmann. New York.
Michalski, Sergiusz (1994). New Objectivity. Cologne: Benedikt Taschen. ISBN
3-8228-9650-0
Rainbird, Sean, ed. (2003). Max Beckmann. New York: Museum of Modern Art.
ISBN 0-87070-241-6
Schulz-Hoffmann, Carla; Weiss, Judith C. (1984). Max Beckmann:
Retrospective. Munich: Prestel. ISBN 0-393-01937-3
Selz, Peter (1964). Max Beckmann. New York.
Stephan Reimertz: Max Beckmann: Biographie. Luchterhand, Mnchen 2003.
Hans Kaiser: Max Beckmann. Berlin 1913
Stephan Kaiser: Max Beckmann. Stuttgart 1962.
Friedhelm W. Fischer: Der Maler Max Beckmann. Kln 1972.
Peter Beckmann: Max Beckmann Leben und Werk. Stuttgart Zrich 1982.
Stephan Lackner: Max Beckmann. Mnchen 1983.
Reinhard Spieler: Max Beckmann 18841950 Der Weg zum Mythos. Kln
1994.
Uwe M. Schneede: Max Beckmann. Der Maler seiner Zeit. Mnchen 2009
Erhard Gpel: Max Beckmann Der Zeichner. Mnchen 1954.
Hildegard Zenser: Max Beckmann Selbstbildnisse. Mnchen 1984.
F. Erpel: Max Beckmann Leben und Werk. Die Selbstbildnisse. Mnchen
1985.
Michael Viktor Schwarz: Philippe Soupault ber Max Beckmann. Beckmann
und der Surrealismus. Freiburg i. Br. 1996, ISBN 3-7930-9126-0
Stephan Reimertz: Eine Liebe im Portrt: Minna Tube, Knstlerin im Schatten
von Max Beckmann. Reinbek 2002.
Christiane Zeiller: Max Beckmann Die frhen Jahre, 18991907. Dissertation,
VDG, Weimar 2003, ISBN 3-89739-359-X
Jrg Schneider: Religion in der Krise. Die bildenden Knstler Ludwig Meidner,
Max Beckmann und Otto Dix meistern ihre Erfahrung des Ersten Weltkrieges.
Gtersloh 2006, ISBN 978-3-579-03495-9
Max Beckmann. Traum des Lebens. Hrsg. Zentrum Paul Klee, Hatje Cantz
Verlag, Ostfildern 2006, ISBN 978-3-7757-1694-9
Max Beckmann. Exil in Amsterdam. Hrsg. Pinakothek der Moderne, Hatje
Cantz, Ostfildern 2007, ISBN 978-3-7757-1837-0
Notas y referencias[editar editar cdigo]
1. Jump up Puedes ver una nota sobre la exposicin y la imagen de la
figura del bailarn haciendo el Spagat en huma3.com. O tambin en el sitio web del
Museo staedelmuseum.de
Beckmann, Max
The Night
1918-19
Oil on canvas
52 3/8 x 601/4 in.
Kunstsammlung Nordrhein-Westfalen, Dusseldorf
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"This is surely one of the most gruesome pictures ever painted. Other artists, usually
motivated by the higher purposes of patriotism or pacifism, have shown the disasters of
war, suppression, and martyrdom; torture and pain are often represented as the just
deserts of sinners tumbling into hell, and the roasting and beheading of saints are
depicted to serve the greater glory of God. But Beckmann sees no purpose in the
suffering he shows; there is no glory for anybody, no compensation, no gloating over
justice accomplished-only enseless pain, and cruelty for its own sake. Beckmann blames
human nature as such, and there seems to be no physical escape from this overwhelming
self-accusation. Victims and aggressors alike are cornered. There is no exit.
"Beckmann has abandoned the Christian symbolism he used in previous works. There is
no salvation in sight. One may consider the tiny window cross in the darkness outside as
a symbol of hope, but otherwise the pressure in the tight little torture chamber is without
relief.
"This is one moment in one attic in Germany at the end of World War I. There is no past
and no future. The phonograph blares in order to blot out the cries of anguish. Its tune
emphasizes the newsreel actuality of this happening: this is the present, this is the world.
"The complex psychological situations are boiled down to simple formulas. The young
woman performing an involuntary split is menaced by the candle. The woman on the
right, nonchalantly swept off her feet, will be unable to prevent the rape. The monkey-
like sadist in the middle accomplishes his torture with scientific coolness, as if to test
the degree of pain that a human being can stand. Only the dog on the left considers
outside help as a possibility: he directs his howling away from the center, believing that
there is somebody, something outside the confines of the frame. But he is not rational,
of course!
"The foreground shows, for the first time in Beckmann's oeuvre, the pair of candles
which he later used again and again in still lifes and triptychs: one has fallen and given
up its ghost; the other carries bravely on. It is as if the artist wanted to leave one
glimmer of hope, one little flickering light to negate the whole of darkness."
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