Word: beckmann
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...house style of radical figurative art in Northern Europe between about 1905 and 1930. But as Selz rightly insists in his catalogue essay, it was less a style than a cluster of attitudes. The major expressionist painters-Ernst Ludwig Kirchner, August Macke, Max Pechstein, Franz Marc, Emil Nolde, Max Beckmann, Oskar Kokoschka, Lyonel Feininger-did have formal traits in common. Harsh, dissonant color that blared fitfully from an unrefined surface; jagged shapes, broken-bottle cubism, an appetite for the primitive in drawing; masklike faces, Gothic poses, extreme jumps of tone between limelight and gloom: the sum of these...
...carry a strong current of social idealism. This did not show itself so much in Utopian schemes as in a vague aspiration toward spiritual improvement, salvation through sensitivity, the obverse of which was the weird consumptive eroticism of Schiele. If Schiele was the Cranach of the movement, Beckmann was its Goya: a maker of thickly constructed and disturbing fables in which the collective fantasies of postwar malaise were summed...
...group of drawings of Die Brucke: choice Kirchners, Heckels, and Pechsteins. The collection is also distinguished by its Grosz drawings, examples of his most incisive social criticism, and by a few single gems: Franz Marc's Two Studies for Horses (a preliminary sketch for his painting, Blue Horses), Max Beckmann's horrific The Last Ones (1919), Otto Dix's almost surreal Klara (1920), Schmidt-Rottluff's Seated Nude Facing Left...
...best of the Newbury Street three-dimensional paintings will soon be superceded by a retrospective of Max Beckmann's prints (opening Oct. 2), and Graphics I and II, where Calder's print series "The Unfinished Revolution" remains til Oct. 18. print series "The Unfinished Revolution" remains till...
Many of the German contributions, such as Heinrich Campendock's woodcut of a sinister fairy tale world, show the influence of a melancholy expressionism. Max Beckmann turns his acerbic melancholy on German society in "Wrestling Match:" a joyful orchestra accompanies two headlocked wrestlers in front of high society onlookers who hoot from gilded balconies or eat delicacies at tables bordering the fight. In a lighter vein, Franz Marc characteristically uses animal symbolism in his woodcut "Creation." Lighter still is Dadaist Kurt Schwitters' "Composition with Profile," a well-composed, child-like doodling...