Max Beckmann saw great spiritual significance in his art. As he wrote in 1920, in an essay titled “Creative Credo,” making art “is the only course of action that might give some purpose to our superfluous and selfish existence—that we give people a picture of their fate.” He believed that it was his duty to make art that was a realistic reflection of and relevant to the times, a conviction strengthened by his experience in the medical corps of the German army during WWI. What resulted were paintings, drawings, and prints of unflinching intensity and psychological depth.

Max Beckmann (1884–1950)

Dostojewski I, 1921

(Dostoyevsky I)

Drypoint with white heightening on laid paper

Sheet: 12 7/10 x 10 in. (32.2 x 25.4 cm)

Image: 7 1/2 x 5 3/8 in. (19 x 13.6 cm)

Signed lower right: Beckmann

Inscribed lower left: Handprobedruck (mit Correctur)

 

Artist’s/trial proof | Hofmaier 186 I

Max Beckmann (1884–1950)

Dostojewski I, 1921

(Dostoyevsky I)

Drypoint with white heightening on laid paper

Sheet: 12 7/10 x 10 in. (32.2 x 25.4 cm)

Image: 7 1/2 x 5 3/8 in. (19 x 13.6 cm)

Signed lower right: Beckmann

Inscribed lower left: Handprobedruck (mit Correctur)

 

Artist’s/trial proof | Hofmaier 186 I

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Max Beckmann (1884–1950)

Stillleben mit Helm und rotem Pferdeschwanz, 1943

(Still-Life with Helmet and Red Horse's Tail)

Oil on canvas

33 1/2 x 25 3/4 in. (85 x 65.5 cm)

Signed and dated lower right: Beckmann A.44

Painted in Amsterdam in 1943-44

Max Beckmann (1884–1950)

Stillleben mit Helm und rotem Pferdeschwanz, 1943

(Still-Life with Helmet and Red Horse's Tail)

Oil on canvas

33 1/2 x 25 3/4 in. (85 x 65.5 cm)

Signed and dated lower right: Beckmann A.44

Painted in Amsterdam in 1943-44

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Max Beckmann (1884–1950)

Die Nacht, 1922

(The Night)

Lithograph on paper

Sheet: 26 7/8 x 21 1/4 in. (68.2 x 53.9 cm)

Image: 17 3/4 x 14 1/8 in. (45 x 36 cm)

Signed lower right: Beckmann

Numbered lower left: 69/100

Erased inscription lower left corner

 

Hofmaier 215

Max Beckmann (1884–1950)

Die Nacht, 1922

(The Night)

Lithograph on paper

Sheet: 26 7/8 x 21 1/4 in. (68.2 x 53.9 cm)

Image: 17 3/4 x 14 1/8 in. (45 x 36 cm)

Signed lower right: Beckmann

Numbered lower left: 69/100

Erased inscription lower left corner

 

Hofmaier 215

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Images

Max Beckmann (1884–1950)

Stillleben mit Helm und rotem Pferdeschwanz, 1943

(Still-Life with Helmet and Red Horse's Tail)

Oil on canvas

33 1/2 x 25 3/4 in. (85 x 65.5 cm)

Signed and dated lower right: Beckmann A.44

Painted in Amsterdam in 1943-44

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Max Beckmann (1884–1950)

Drei Frauen, 1922/23

(Three Women)

Pencil on paper

5 1/2 x 8 3/8 in. (14.1 x 21.3 cm)

Inscribed verso: This drawing was made by my husband Max Beckmann in the 1920ties Mathilde Q. Beckmann

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Max Beckmann (1884–1950)

Spotorno, Blick aus dem Fenster, 1926

(Spotorno, View from the Window)

Oil on canvas

19 7/8 x 28 in. (50.5 x 71 cm)

Signed and dated lower right: Beckmann 26

           

           RESERVED

 

Max Beckmann (1884–1950)

Die Nacht, 1914

(The Night)

Drypoint on Japan paper

Sheet: 10 1/8 x 12 7/8 in. (26.1 x 32.6 cm)

Image: 8 7/8 x 10 7/8 in. (22.5 x 27.5 cm)

Signed lower right: Beckmann

 

Hofmaier 77

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Max Beckmann (1884–1950)

Jakob ringt mit dem Engel, 1920

(Jacob Wrestles with the Angel)

Drypoint on thin Japanese paper

Sheet: 16 5/8 x 11 3/4 in. (42.4 x 30 cm)

Image: 11 1/4 x 8 3/4 in. (28.7 x 22.2 cm)

Signed lower right: Beckmann

Marked with blind stamp lower right: Icharus Ascending

 

Hofmaier

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Max Beckmann (1884–1950)

Hinter den Kulissen, 1922

(Behind the Scenes)

Drypoint on Japan paper

Sheet: 13 x 18 5/8 in. (33 x 47.3 cm)

Image: 8 1/4 x 12 1/4 in. (21 x 31 cm)

Signed lower right: Beckmann

Marked with blind stamp lower right: Icharus Ascending

 

Hofmaier 193

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Max Beckmann (1884–1950)

Schiessbude, 1921

(Shooting Gallery)

Drypoint on Japan paper

Sheet: 21 1/2 x 15 1/2 in. (54.6 x 39.3 cm)

Image: 12 1/2 x 9 3/4 in. (31.8 x 24.8 cm)

Signed lower right: Beckmann

Inscribed lower left: Handprobedruck (mit Correctur)

 

Hofmaier 194 II B a

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Max Beckmann (1884–1950)

Dostojewski I, 1921

(Dostoyevsky I)

Drypoint with white heightening on laid paper

Sheet: 12 7/10 x 10 in. (32.2 x 25.4 cm)

Image: 7 1/2 x 5 3/8 in. (19 x 13.6 cm)

Signed lower right: Beckmann

Inscribed lower left: Handprobedruck (mit Correctur)

 

Artist’s/trial proof  | Hofmaier 186 I

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Max Beckmann (1884–1950)

Garderobe, 1921

(Cloakroom)

Drypoint on velin

Sheet: 20 7/8 x 15 in. (53 x 38.2 cm)

Image: 8 1/8 x 5 3/4 in. (20.7 x 14.7 cm)

Signed lower right: Beckmann

Marked with blind stamp lower right: Icharus Ascending

Numbered verso on page with table of contents: Von den 125 nummerierten Exemplaren auf Bütten ist dies die Nummer 15

 

Hofmaier 77

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Max Beckmann (1884–1950)

Schlangendame, 1921

(Snake Lady)

Drypoint on velin

Sheet: 20 4/5 x 15 in. (53 x 38.2 cm)

Image: 11 1/4 x 10 1/8 in. (28.7 x 25.8 cm)

Signed lower right: Beckmann

Inscribed lower left: Handprobedruck (mit Correctur)

 

Hofmaier 200 II B b

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Max Beckmann (1884–1950)

Hunde im Abendwind, 1921

(Dogs in the Evening Breeze)

Drypoint on laid paper

Sheet: 10 1/10 x 12 7/10 in. (25.7 x 32.3 cm)

Image: 6 3/8 x 8 7/8 in. (16.2 x 22.4 cm)

Signed lower right: Beckmann

Titled and inscribed lower left: “Im Abendwind” (Gandgroßdruck)

 

Hofmaier 204

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Max Beckmann (1884–1950)

Schwarzer Mann, 1921

(Black Man)

Drypoint on velin

Sheet: 20 7/8 x 15 in. (53 x 38 cm)

Image: 11 1/2 x 10 1/4 in. (29.3 x 25.9 cm)

Signed lower right: Beckmann

Marked with blind stamp lower right: Icharus Ascending

Numbered verso on page with table of contents: Von den 125 nummerierten Exemplaren auf Bütten ist dies die Nummer 15

 

Hofmaier 196

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Max Beckmann (1884–1950)

Der große Mann, 1921

(The Big Man)

Drypoint on velin

Sheet: 20 3/4 x 15 in. (52.8 x 38.2 cm)

Image: 12 1/8 x 8 1/4 in. (30.8 x 20.9 cm)

Signed lower right: Beckmann

Numbered verso on page with table of contents: Von den 125 numerierten Exemplaren auf Bütten ist dies die Nummer 15

Marked with blind stamp lower right: Icharus Ascending

 

Hofmaier 195

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Max Beckmann (1884–1950)

Kleines tanzendes Paar, 1923

(Small Dancing Couple)

Woodcut on light-pink imitation Japan paper

Sheet: 12 x 8 9/10 in. (30.4 x 22.5 cm)

Image: 7 x 4 in. (17.7 x 10.1 cm)

Signed lower right: Beckmann

 

Hofmaier 267 B a

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Max Beckmann (1884–1950)

Der Zeichner in Gesellschaft (Rudolf Grossmann), 1922

(The Draftsman in Company [Rudolf Grossmann])

Etching on pink Japan paper

Sheet: 19 5/8 x 14 in. (50 x 35.8 cm)

Image: 12 7/8 x 9 1/2 in. (32.8 x 24.2 cm)

Signed lower right: Beckmann

 

Hofmaier 230

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Max Beckmann (1884–1950)

Umarmung, 1922

(Embrace)

Drypoint on velin

Sheet: 21 1/5 x 14 7/10 in. (53.8 x 37.4 cm)

Image: 16 1/2 x 9 5/8 in. (42 x 24.5 cm)

Signed lower right: Beckmann

Numbered lower left: 26/50

 

Hofmaier 236 IV B d

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Max Beckmann (1884–1950)

Die Nacht, 1922

(The Night)

Lithograph on paper

Sheet: 26 7/8 x 21 1/4 in. (68.2 x 53.9 cm)

Image: 17 3/4 x 14 1/8 in. (45 x 36 cm)

Signed lower right: Beckmann

Numbered lower left: 69/100

Erased inscription lower left corner

 

Hofmaier 215

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Max Beckmann (1884–1950)

Liegende, 1922

(Lying Woman)

Drypoint on Japan paper

Sheet: 19 1/2 x 16 in. (49.5 x 40.5 cm)

Image: 11 5/8 x 10 1/8 in. (29.6 x 25.7 cm)

Signed lower right: Beckmann

 

Hofmaier 232

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Max Beckmann (1884–1950)

Frauenbad, 1922

(Woman's Bath)

Drypoint on paper

Sheet: 21 3/10 x 19 2/5 in. (54 x 49.2 cm)

Image: 17 1/4  X 11 1/4  in. (43.7 x 28.6 cm)

Signed lower right: Beckmann

Titled and numbered lower right: Frauenbad 203

Numbered lower left: V/XX

 

Hofmaier 234 II B b

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Max Beckmann (1884–1950)

Doppelbildnis I. B. Neumann und Martha Stern, 1922

(Double Portrait of I. B. Neumann and Martha Stern)

Lithograph on velin

Sheet: 19 1/2 x 25 5/8 in. (49.6 x 65 cm)

Image: 17 x 19 1/2 in. (43.3 x 49.5 cm)

Signed lower right: Beckmann

Titled lower left corner: Doppelbildnis

 

Hofmaier 209

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Max Beckmann (1884–1950)

Selbstbildnis von vorn, im Hintergrund Hausgiebel, 1918

(Frontal Self-Portrait with House Gable in Background)

Drypoint on paper

Sheet: 20 3/4 x 15 in. (52.6 x 38 cm)

Image: 12 x 10 1/8 in. (30.5 x 25.6 cm)

Signed lower right: Beckmann

Titled lower right: Selbstportrait 

 

Hofmaier 125 II B a

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Max Beckmann (1884–1950)
Mainufer in Frankfurt mit Dreikönigskirche, 1925
(Three Kings Church by the Banks of the River Main in Frankfurt)
Pencil on paper
19 x 12 1/2 in. (48.3 x 31.8 cm)
 

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Video

Max Beckmann: Printmaker, Draftsman, Painter - Viewing Room - Moeller Fine Art

Portrait of Max Beckmann, 1928

Photo:  Hugo Erfurth

Chronology

1884
Max Beckmann is born on February 12 in Leipzig, Germany.

1894
His father dies.

1899
Enrolls at the Grossherzoglioche Kunstschule, Weimar where he studies with Carl Frithjof Smith.

1903-04
Travels to Paris, Geneva and Florence. Begins his lifelong habit of keeping a diary.

1904
Moves to Berlin.

1906
Marries fellow art student Minna Tube.

1912
Beckmann’s first solo exhibitions are held at the Kunstverein, Magdeburg and the Grossherzogliches Museum für Kunst und Kunstgewerbe, Weimar.

1914
Following the outbreak of the First World War, Beckmann volunteers for the army medical corps.

1915
Discharged from the medical corps following a mental breakdown. Settles in Frankfurt.

1914-1923
Printmaking becomes his primary focus. Beckmann will eventually produce 373 prints.

1920s
Switches from biblical subjects to subject matter associated with the artists of the Neue Sachlichkeit including contemporary allegories and realistic portraits.

mid-1920s
His work begins to include more Expressionistic brushwork and brighter colors. At the same time his compositions become less crowded and more naturalistic.

1925
Exhibits with the Neue Sachlichkeit at the Städtisches Kunsthalle, Mannheim but never formally joins the group. He is appointed as a professor at the Städliches Kunstinstitut, Frankfurt.

1926
The first exhibition of Beckmann’s work is held at J. B. Neumann’s New Art Circle in New York.

1928
A large retrospective of his work is held at the Städtisches Kunsthalle, Mannheim.

1929-1932
Continues teaching in Frankfurt but spends his winters in Paris. Begins using the triptych format.

1933
Following the rise of the Nazis in Germany he is dismissed from his teaching position in Frankfurt and moves to Berlin.

1937
More than 500 works by Beckmann are confiscated from public collections. His work is included in an exhibition of “degenerate art”. One day after the exhibition opens, Beckmann flees Germany for Amsterdam where he will stay for the next ten years.

1938
Curt Valentin’s Buchholz Gallery, New York holds an exhibition of his work.

1947
Travels to Paris and the south of France. Begins teaching at the School of Fine Arts at Washington University, St. Louis.

1948
His first U.S. retrospective is held at the City Art Museum, St. Louis.

1949
Teaches the University of Boulder, Colorado during the summer and at the Brooklyn Museum Art School in the fall. Awarded first prize in the Painting in the United States exhibition at the Carnegie Institute, Pittsburgh.

1950
Dies on December 27 in New York at the age of 66.

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