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Max BeckmannDie Bettler (The Beggars)1922
1922
$9,500
£7,227.32
€8,450.95
CA$13,286.17
A$14,925.51
CHF 7,943.18
MX$184,559.63
NOK 96,788.59
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DKK 63,036.18
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About the Item
Die Bettler (The Beggars)
Lithograph, 1922
Signed in pencil lower right (see photo)
From: Berliner Reise Series, Plate 7
Printed on wove paper
Edition: 100
Condition: Printers crease in the lower left margin, not affecting image. According to Jorg Maas, this printer's crease has been on every impression of this image that he has seen.Full sheet as issued.
Reference: Glaser 195
Gallwitz 188b
Hofmaier 219B
An example of this image is in the following museum collections:
Brooklyn Museum
Museum of Modern Art, New York (MOMA)
Worcester Art Museum
Museum of Fine Arts, Boston
Metropolitan Museum of Art, New York
Fine Arts Museum of San Francisco
Portland Art Museum, Oregon
St. Louis Art Museum
Art Institute of Chicago
Text from Frances Carey and Antony Griffiths, 'The Print in Germany 1880-1933', BM 1984, no.153
The portfolio 'Berliner Reise' (Journey to Berlin) consisting of ten large transfer lithographs, can be seen as a sort of sequel to 'Die Hölle'. Compared with the earlier series the approach is more dispassionate, and the artist presents himself in the first introductory plate more as the neutral observer, pen in hand, than the critic and appalled participant. The plates are organised in a series of contrasts or parallels. 'The disappointed I' is the second plate, and shows a group of seven well-to-do people discussing in a circle the news brought to them by their conservative newspaper, the '[Neue Preussische] Kreuz-Zeitung' [a conservative daily endorsed by the Prussian aristocracy]. Their discontent, evident in their gestures and expressions, must be with the end of the German Reich and the establishment of Weimar democracy. The contrasting third plate, 'Night', portrays a poor family sleeping in exhaustion in a mean tenement block; the baby is given Beckmann's own features. The sixth plate is also entitled 'The disappointed', but the four people yawning as they conduct a desultory conversation are now identified as Communist ideologues by the publications they carry, which are speeches and addresses by Rosa Luxemburg and Karl Liebknecht; the failure of the Spartacus rising has left them as disappointed as the monarchists.
'Berliner Reise' was drawn in the early months of 1922 and published by J.B. Neumann in April that year in a signed and numbered edition of one hundred. The two plates catalogued in Carey & Griffiths 1984, being neither signed nor numbered, must be a few spare sheets printed above the stated number in case of accident and thus left unsigned when they were not needed. None of the original transfer drawings seems to survive, though von Wiese catalogues several related pencil studies from a sketchbook.
Courtesy British Museum
- Creator:Max Beckmann (1884-1950, German)
- Creation Year:1922
- Dimensions:Height: 18.375 in (46.68 cm)Width: 13.125 in (33.34 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA95071stDibs: LU14014041542
Max Beckmann
Max Beckmann was one of the most influential artists of the 20th century - both as a painter and as an outstanding graphic artist. Printmaking was the main medium he worked in between 1914 and 1924, creating a total of 156 drypoints, 72 lithographs and 16 woodcuts. From wikipedia: Max Carl Friedrich Beckmann (February 12, 1884 – December 27, 1950) was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement.[1] In the 1920s, he was associated with the New Objectivity (Neue Sachlichkeit), an outgrowth of Expressionism that opposed its introverted emotionalism. Even when dealing with light subject matter like circus performers, Beckmann often had an undercurrent of moodiness or unease in his works. By the 1930s, his work became more explicit in its horrifying imagery and distorted forms with combination of brutal realism and social criticism, coinciding with the rise of nazism in Germany.
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