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Max BeckmannSpring (Fruling) (also known as Street in Frankfort)1918
1918
About the Item
Max Beckmann, Spring (Fruling) (also known as Street in Frankfort), etching and drypoint, 1918, signed lower right. Reference: Hofmaier 133IIb, from the edition of 60 on laid paper; another 40 were on Japan. Plate 13 of Gesichter (Faces), as published byR. Piper, Marees-Gesellschaft, and with their stamp bottom right hand corner. In very good condition, on an ivory laid paper, the full sheet, 11 3/4 x 7 3/4, the sheet 14 1/2 x 11 3/4 inches. Printed by Franz Hanfstaengel, Munich, archival window matting.
A fine fresh impression. This is an impression of the second state (of two); only one proof of the first state is known.
The portfolio Gesichter was a selection of prints done by Beckmann on a variety of subjects over the period of the War, 1914-18; the prints were not made with the portfolio or other compilation in view. But they all do seem to be autobiographical. Beckmann had volunteered as a medical orderly during the War, but after a nervous breakdown in 1915 was given leave.
Here, Beckmann and his wife lean out of their Frankfort apartment window to welcome Spring; the ending of the War may infuse the spirit of the print, but of course that is pure conjecture.
- Creator:Max Beckmann (1884-1950, German)
- Creation Year:1918
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531489193
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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