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Mellon Foundation. The artist himself is often part of the action, usually costumed, but identifiable by his enormous head and scowling face. Louis and New York. The bright pop of the yellow lily and the serpent's red eye contrast sharply with the drab palette Beckmann used to portray the flat landscape and gaunt figures, drawing the viewer's eye to them immediately. This painting illustrates Beckmann's move away from the monumental, historical representations common to the academic training he received and towards the depiction of small, private moments. During the last three years of his life, he taught at the art schools of Washington University in St. After suffering from a mental breakdown in , Beckmann was dismissed, returning to Germany. The catalogue is made possible by The Andrew W.

Rathbonewho was director of the Saint Louis Art Museum. Buy Tickets Exhibition Overview This exhibition puts a spotlight on artist Max Beckmann's special connection with New York City, featuring 14 paintings that he created while living in New York from toas well as 25 earlier works from New York collections.

His fortunes changed with the rise to power of Adolf Hitlerwhose dislike of Modern Art quickly led to its suppression by the state. Rathbone arranged for Washington University in St. Not only did Beckmann receive the Villa Romana prize for this work, but the Weimar museum acquired it the following year.

By the time of his death, he was already established as one of the leading painters of the 20th century, and his legacy still lives on today. The loose brushwork is indebted to the Impressionists, but the painting does not record the effects of light on a particular scene as observed by the artist.

Barbara C.

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They included several large triptychs, which stand as a summation of Beckmann's art. Inhe became elected as a board member of the group, the youngest ever to achieve this status.

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Initially filled with hope, the horrors of the war he had witnessed completely changed his perspective of the world and lead to the loss of his trust in mankind. These archetypes convey Beckmann's appreciation for symbolism and allegory; here, he uses the lily to allude to purity and redemption, while the fiery red of the serpent's eye emphasizes the mercurial nature of the devil.

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His traumatic experiences of World War I, in which he volunteered as a medical orderly, coincided with a dramatic transformation of his style from academically correct depictions to a distortion of both figure and space, reflecting his altered vision of himself and humanity.

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Max Beckmann: Expressionist Painter, Biography, Paintings