Beckmann initially fled to Amsterdam … Although he is classified as an Expressionist artist, he rejected both the term and the movement and in the 1920s. Painted in 1942, the present still-life dates from the most fruitful and inventive phase of Beckmann's career, which occurred while he was living in exile in Amsterdam during the Second World War. Max Beckmann “Still-Life With Three Skulls” 1945.The ’Great War’ had a lasting and profound effect on Beckmann.In 1915 he suffered a mental breakdown and for this reason was discharged from the German army. The still life runs like a golden thread through every stage of his creative life.
Max Beckmann used candles as traditional symbols of the fleeting nature of life; here, he places them within a modern composition of interlocking shapes, reflecting the influence of Picasso. Enlarge Favourite Add to Album Share. While he is regarded as an artist of Expressionism, he denounced both the identity and the movement. Max Beckmann. Max Beckmann (1884-1950), Berlin, Germany; Amsterdam, The Netherlands; New York, NY, USA 1950 - Mathilde Q. Beckmann, New York, NY, by inheritance from the artist Catherine Viviano Gallery, New York, NY, on consignment from Mathilde Q. Beckmann [1] by 1954 - 1956 Mr. and Mrs. Sam Jaffe, Beverly Hills, CA [2] 1956 - 1983 Max Beckmann (February 12, 1884 – December 28, 1950) was a German writer, sculptor, printmaker, draftsman, and painter.
A large retrospective takes place at the Mannheim Kunsthalle in 1928. Images of skulls, dying flowers and extinguished candles populate these masterful works, which draw on the tradition of the Old Masters. 1937 - 1942, Buchholz Gallery (Curt Valentin), New York and Stephan Lackner, Paris, New York, and Santa Barbara, CA, probably jointly acquired from the artist. Max Beckmann is awarded the "Reichsehrenpreis Deutscher Kunst" (Honorary Prize of German Art) and receives the gold medal of the city of Düsseldorf for the painting "Großes Stillleben mit Fernrohr" (Large Still Life … Still Life with Saxophones, 1926. This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.. 1932 - 1937, Max Beckmann, Frankfurt, Berlin, and Amsterdam. Dimensions 85.0 x 195.0 cm Physical Description Oil on canvas Inventory Number SG 1159 Acquisition Acquired in 1927, Confiscated in 1936, Reacquired in 1955 with means provided by the Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege The work is inscribed “St L” at top left, indicating that it was painted in Saint Louis, shortly after Beckmann’s arrival in …