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Max BeckmannDer Neger (The Negro)1921
1921
About the Item
MAX BECKMANN (1884 – 1950)
DER NEGER (THE NEGRO) 1921 (Glaser 171. Gallwitz 168. Hofmaier 196 II B b. Rifkind 138 6.)
Drypoint, Signed in pencil from Jahrmarkt (The Annual Fair) . One from a portfolio of ten drypoints. Very good impression On japan paper plate: 11 7/16 x 10 1/4" Sheet, full margins with deckle edge, 20 3/4 x 15". Blind stamp of publisher: Marées-Gesellschaft, R. Piper & Co., Munich. Printer: Franz Hanfstaengl, Munich, 1922.
This impression one of 75 on japan paper, plus 125 on wove paper - Total Portfolio edition: 200, plus 6 known state proofs and 4 known trial proofs. There is a posthumous edition, 1966: 110 (including 30 on "Japan" paper, and 80 on wove paper).
The "Jahrmarkt" was a series of 10 drypoints illustrating various characters in a metaphoric annual German street fair.. It also included Beckman himself as a few of the characters.
The Museum of Modern Art described the portfolio below:
Heather Hess, German Expressionist Digital Archive Project, German Expressionism: Works from the Collection. 2011.
Max Beckmann imagines the world as a carnival in this portfolio. On the title page, he casts himself as a barker for a traveling band of outsiders, the Circus Beckmann. Shown ringing a bell, and pointing to the edge of the page, he urges viewers to behold the spectacles unfolding within. In Beckmann's theater of life everyone plays many roles: actor, observer, director. The ten rich, velvety drypoints touch upon the major themes he explored throughout his long and productive career: existential crisis, the alienation of modern life, and the insurmountable conflict between the sexes. Beckmann's Expressionist manipulation of space and his pushing together of figures increase the emotional distance between the individuals, who appear to exist only in worlds unto themselves. Actors corralled together backstage wait patiently, not realizing that their true performance—life itself—has already begun. Beckmann conveys female sexuality as a dangerous lure in scenes set in the shooting gallery, on stage, and behind the scenes. In one print, he depicts himself and his wife, Minna, balancing on a tightrope—an allusion to Friedrich Nietzsche's Thus Spoke Zarathustra, in which the philosopher describes man as a "rope" hung over an abyss between base animal and heroic Übermensch.
German Expressionism
- Creator:Max Beckmann (1884-1950, German)
- Creation Year:1921
- Dimensions:Height: 11.5 in (29.21 cm)Width: 10.25 in (26.04 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Near excellent.
- Gallery Location:Santa Monica, CA
- Reference Number:1stDibs: LU41133082803
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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