Word: beckmann
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...less than romantic. Luckily, the city has a tradition of outfoxing the fall gloom with the indoor dazzle of its museums, galleries and exhibition halls. This fall's lineup is exceptionally eclectic. In addition to the blockbuster Matisse and Picasso show at the Grand Palais and the big Max Beckmann retrospective at the Centre Pompidou, the season's new shows include Old Masters, guitar gods and great photographers. At the Musée d'Orsay, Manet/Velázquez, The Spanish Manner in the 19th Century documents the influence of the great 17th and 18th century Spanish painters - Velázquez...
...first solo exhibition in Paris in 1931, the daily Le Figaro called painter Max Beckmann "something like a Germanic Picasso." Nobody would hazard such a comparison today, but the magnificent exhibition of Beckmann's work, which opened in September at Paris' Centre Pompidou, is bound to remind viewers what that critic of an earlier age was getting at. Like his Spanish rival, Beckmann was a protean creator with an immense vitality, rich artistic vocabulary and strong sense of mission. If his art has less influence today than Picasso's, it may be because it remained so rooted in the concrete...
...then, within a few short decades, these titans proved wholly ephemeral. Their achievement was wiped out by a couple of dozen scrags with names like Cezanne, Matisse, Picasso, Malevich, Beckmann, Rauschenberg, mouthing their bizarre and (at first) peculiar and unpopular visual dialects. Over their bones rose a new edifice of taste enforcement, even more coercive than the old--the transnational bureaucracy of late modernism, staffed by as pompous a set of dullards as ever infested the shorter corridors of cultural power in 1900, all bombing on about their radical credentials. "The accursed power based on privilege," as Hilaire Belloc wrote...
...expressionist holdings. That in fact was associated with the man who left [St. Louis] and became the director of the MFA. He brought that particular interest with him to the Boston area, and it coincided with interests at the School of the Museum of Fine Arts. People like Max Beckmann had shows then, and Kokoschka. So at the Museum School in the late '40s and 1950s there was a strong identification of Boston with that expressionist tradition. But I think after this, as you get into the '60s and certainly the '70s, Boston is as pluralistic as any other place...
...Reisinger has accumulated over the past century an impressive holding of post-1880 German art with a particular emphasis on German Expressionism. The stark curation and sparing use of didactic wall texts are appropriately austere, boldly offsetting the colorful effusiveness of Gerhard Richter and the restrained hysteria of Max Beckmann. Also notable is a series of Bauhaus paintings (including works by Malevich and El Lissitsky), a pair of Jawlensky portraits, and an unusual Klimt. Currently on display is a collection of works by Hannah Darboven, touted by the curatorial staff as "one of the most important active German artists today...