Max Beckmann. Whereas he had previously portrayed himself as a medical orderly and as an artist in the studio, here he appears as an elegant dandy in a tuxedo at the bar of a nightclub. Beckmann was thus drawing on a richly traditional motif: depictions of jolly drinkers and revellers were especially popular in the Dutch and Flemish painting of the seventeenth century. This portrait, however, does not convey an impression of boisterous gaiety. His body crams itself into the constricted pictorial space with a cramped, almost contorted pose. A grotesque-looking character laughs in the background; in the mirror at the left, the same face laughs back like a menacing echo.
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Joseph Koerner on the significance of Max Beckmann's "Self-Portrait in Tuxedo" | Harvard Magazine
Today I am exploring the unusual world of Expressionism, to be more precise, German Expressionism, and will be looking at a painting entitled The Night by the German artist Max Beckmann, who was one of the most important German painters of the 20 th century. Beckmann has always been compartmentalised as an Expressionist painter but he himself, railed against that tag. Expressionism materialized in different artistic circles across Europe but its zenith was the period between and In expressionist art the colours used were often strong and highly intense and often non-naturalistic. The brushwork is typically free and paint application tends to be generous and highly textured. Expressionist art inclined to be poignant and sometimes had mystical qualities. It would often look at themes of belonging and alienation.
C. S. Lewis’s How To Pray: “Can Prayer Be Proven To Work?”
Max Beckmann February 12, — December 27, 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. In the s, he was associated with the New Objectivity Neue Sachlichkeit , an outgrowth of Expressionism that opposed its introverted emotionalism. Max Beckmann was born into a middle-class family in Leipzig, Saxony. From his youth he pitted himself against the old masters.
In the first chapter of the new book by C. The essay originally appeared in The Atlantic Monthly , January, Much of the material is similar to what Lewis writes about later in his Letters To Malcolm — composed in , chapters 8 and 9. In both places, Lewis reflects on the question of whether or not we can really prove a causal connection between our prayers and what we perceive to be the answers to them.