Find more works of this artist at Wikiart.org – best visual art database.
“I would meander through all the sewers of the world, through …

In many of his paintings Beckmann melded reality with fantasy, producing a world in which strange women and immoral businessmen mingle with nightmarish creatures, as seen his work Bird’s Hell (1938).

Max Beckmann has finally made it to the Met. Established museums collected and exhibited contemporary work by Max Beckmann, Ernst Ludwig Kirchner, Paul Klee, and others, introducing them to a wide international audience that included Alfred H. Barr, Jr., MoMA’s founding director. In the first decades of the 20th century, radical new art flourished in Germany. This self-portrait was perhaps the last painting the artist completed in Berlin before he and his wife fled to the Netherlands on July 20, 1937. Among his many self-portraits is 1938's Self-Portrait With Horn, painted after he fled Nazi Germany. Despite asserting in lectures that he was apolitical, this work reflects Beckmann's growing anxiety in … Max Beckmann lived in the XIX – XX cent., a remarkable figure of German Expressionism and New Objectivity (Neue Sachlichkeit). John Haber in New York City Max Beckmann in New York and R. B. Kitaj.
Beckmann began painting Departure just before the Nazis came to power, and completed the work shortly after they deposed him from his teaching post in Frankfurt. Beckmann deftly combined allegorical figures and images from reality in artworks rife with semiotic play that conveyed his individual interpretation of the cultural, social, and …

He exerted a profound influence on such American painters as Many of Beckmann's late paintings are displayed in American museums. Max Beckmann German, 1884–1950 Max Beckmann was one of the Weimar Republic’s most honored artists and one of those most vilified by the Nazis. It only took him a lifetime.

Max Beckmann was a German painter widely regarded as one of the major figures of the Expressionist and New Objectivity movements. Devoted to figuration, Beckmann repeatedly used the theater, circus, history, mythology, and religion as allegories for human tragedy. Beckmann was sixty-six when he set off to cross Central Park exactly that many years ago, only to die of a heart attack along the way.