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Max Beckmann: Deposition

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Max Beckmann: Deposition ;;;;;;;;;;;;;;;;;;;;;; USFOECZVTJOHEBSLDPMPST TIBSQCMBDLMJOFT BOEHSJNTVCKFDU Max Beckmann: NBUUFSUPDSFBUFQPMJUJDBMTUBUFNFOUTBOEFYQSFTTBWBSJFUZPG emotions4)FVTFECMBDLUPGPSDFPCKFDUTUPHFUIFSUPDSFBUF Deposition QSPYJNJUZ BOEPGUFOPVUMJOFE PSiJNQSJTPOFE wIJTHSBWFO Tabitha Gomes JNBHFTJOCMBDL DSFBUJOHDPNQPTJUJPOTUIBUMPPLFEBTJGUIFZ XPVMECVSTUGSPNUIFQJDUVSFQMBOF5 Art 375 #FDLNBOOIBUFETFOUJNFOUBMJUZUIVT IJTEFTJSFXBTUP e Descent from the Cross XBTQBJOUFECZUIF(FSNBO SFDPSEUIFJOFYQSFTTJCMFUIJOHTJOMJGFɨFTUSPOHFSUIBUEFTJSF BSUJTU.BY#FDLNBOOJOUPEBZ JUTPJMPOBCZ CFDBNF UIFNPSFIFXBOUFEiUPTFJ[FUIJTGSJHIUGVMUXJUDIJOH JODIDBOWBTJTIFMEBUUIF.VTFVNPG.PEFSO"SUJO/FX:PSL NPOTUFSPGWJUBMJUZBOEUPDBHFJUJOHMBTTDMFBSTIBSQMJOFTBOE $JUZɨJTJNBHFPG$ISJTUJTOPUBOJEFBMPOF BOETUSBZTGSPN TVSGBDFT UPTVQQSFTTJU UPUISPUUMFJUw6 MPOHFTUBCMJTIFE$ISJTUJBOBSUUIBUNPTUQFPQMFLOPXPGɨF #FDLNBOONFUUIFHSFBUFTUJOìVFODFPGBMMBGUFSUIF EFQPTJUJPOIBTOFWFSCFFOTIPXOJOTVDIBOBQQBMMJOHXBZBT PVUCSFBLPG8PSME8BS*BOEIJTWPMVOUBSZJOWPMWFNFOUJO UIJT DSFBUJOHVOFBTZGFFMJOHTGPSUIFWJFXFSɨFJNBHFPG$ISJTU #FDLNBOOXBTBTTJHOFEUP&BTU1SVTTJBOBOE#FMHJBO JTBMNPTUVOSFDPHOJ[BCMF XJUIUIJOTLJOVQPOIJTCPOFT QBMF fronts as a medical orderly for the German Army until the BOEZFMMPXɨFPUIFSëHVSFTJOUIFQJFDFBSFBMTPEJTUPSUFEUP TQSJOHPG7*OJUJBMMZ #FDLNBOOUIPVHIUUIFXBSXPVME BOFYUFOUPGNPSCJEJUZ XJUIOPTJHOPGIPQFɨFQBJOUJOHIBT CFBHSFBUPQQPSUVOJUZGPSQJDUPSJBMSFQPSUBHFPOBDBUBTUSPQIJD EFBUIìPXJOHJO PVU BOEUISPVHIJU SBEJBUJOHUIFGFFMJOHPG FWFOU8)FTVêFSFEUISPVHIIJTTIPSUUPVSJO8PSME8BS* TVêFSJOH"MMQBJOUJOHTPGUIFEFTDFOUGSPNUIFDSPTTEFBMXJUI XJUINBOZMPTTFTBOEUIFEFBUIPGIJTCSPLFOTQJSJUFEGSJFOE BEFBE$ISJTUEVSJOHBQBJOGVMUJNF CVUOPBSUJTUIBTCFFOBT UISPVHITVJDJEF6QPOMFBWJOHëFMEDPOEJUJPOT #FDLNBOO WVMHBSBT#FDLNBOO XBTUSBOTGFSSFEUPBCBTFIPTQJUBM XIFSFIFTLFUDIFEIJT .BY#FDLNBOOXBTOFWFSUIFBWFSBHFBSUJTU BOECFDBVTF PCTFSWBUJPOTBOEUIFQBJOPOFBDIQBUJFOUTGBDF10 PGIJTMJGFDIPJDFT IFDIBOHFEBTBQFSTPO UIVTDPOUSJCVUJOHUP "GUFSCFJOHFYQPTFEUPIBSTIDPOEJUJPOT EFBUI BOEUIF IJTTUZMFPGBSU)PXDPVMEPOFNBOVTFBSUUPQPSUSBZEFBUITP QVSFUSVUIPGXIBUXBTJOWPMWFEJOUIFXBS DIBOHFE#FDLNBOO SFBMJTUJDBMMZ BOEXIZ )PXEPFTUIJTEJTUVSCJOHQJFDFDPNQBSF BOEIJTFBSMZTUZMFPGBSU11ɨFNBKPSEJêFSFODFJOIJTBSUXPSL UPPUIFSEFQPTJUJPOTUISPVHIPVUUIFIJTUPSZPGBSU "MUIPVHIIJT CFGPSFXBTUIBUJUGBJMFEUPQFOFUSBUFJOUPiUIFTPVMTPG TUZMFIBEESBTUJDEJêFSFODFTUIBUTFQBSBUFEIJNGSPNUIFPUIFS UIJOHTw12)FCFDBNFNPSFJOUFSFTUFEJOBCTUSBDUFEIVNBOGPSN BSUJTUTPGIJTUJNF IJTTZNCPMJTNBOETVCKFDUNBUUFSEJEOPU BOETIBQFTUIBUQSFTTFEBHBJOTUFBDIPUIFSSBUIFSUIBODSFBUJOHB TUSBZGSPNUIFFTUBCMJTIFEIJTUPSZ TQBDFCFUXFFOUIFNɨFEFQUIJOIJTBSUXPSLCFHBOUPTISJOL .BY#FDLNBOOXBTCPSOJO(FSNBOZJO JOUIF BOEUIFëHVSFTCFDBNFDSPXEFEXJUIOPSPPNUPNPWFGSFFMZ FSBPG*NQSFTTJPOJTUQBJOUFSTBUJNFXIFSFBSUJTUTCFHBOUP JOTQBDF*O BUUIFBHFPGUIJSUZ #FDLNBOOTUBUFEJOUIF FYQFSJNFOUXJUIDPMPST UFDIOJRVFT BOETVCKFDUNBUUFS Kunst und KünstlerKPVSOBMi'PSNZTFMG *QVSTVFUIFBSUPG "MUIPVHIUIFHFOFSBUJPOBSPVOEIJNCFHBOUPTFBSDIGPS TQBDFBOEEFQUIXJUIBMMNZTPVMBOEUSZUPBDIJFWFNZPXO BSFOFXBMPGGPSN #FDLNBOXBTNPSFJOUFSFTUFEJOUIF )FDLNBOOT 'SJFESJDI-PðFS 'SJU[3PUFST &CFSIBSE8JFTF 4UFQIBO 1 DPOUJOVBUJPOPGUIFUSBEJUJPOUIBUIFIBEHSPXOVQXJUI And WPOGerman Expressionism 1915-1925, e Second Generation. .VOJD BTNBOZBSUJTUTCFHBOFYQFSJNFOUJOHBOEGPSNJOHHSPVQTMJLF 1SFTUFM7FSMBH Q 3PI 'SBOYGerman Painting in the 20th Century. 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(SFFOXJDI/FX:PSL "ZFS1VCMJTIJOH Q (SBQIJD4PDJFUZ Q 11 )BGUNBOO 8FSOFSGerman Art of the Twentieth Century. /FX:PSLɨF )FDLNBOOT 'SJFESJDI-PðFS ' SJU[3PUFST &CFSIBSE8JFTF 4UFQIBO .VTFVNPG.PEFSO"SU Q WPOGerman Expressionism 1915-1925, e Second Generation. .VOJD 12 %VCF 8PMG%JFUFS e Expressionists. -POEPOɨBNFTBOE)VETPO 1SFTUFM7FSMBH Q Q HOHONU Volume 8 2010 - 65 TUZMFJOJUw13 BGFXWFSZWJUBMDPNQPOFOUTUPUIFSFQSFTFOUBUJPO0OFWFSZ #FUXFFOBOE #FDLNBOOIBEBTVEEFOVSHFUP JNQPSUBOUNBOUP$ISJTUTEFTDFOUXBT+PTFQIPG"SJNBUIFB QBJOUBTFSJFTPGEJTUPSUFEJNBHFTPGSFMJHJPVTUIFNFT)FIBE B+FXJTIKVEHFBOEBTFDSFUGPMMPXFSPG$ISJTU16i+PTFQIPG JMMVTUSBUFENBOZSFMJHJPVTMZUIFNFEQJFDFTCFGPSFCVUOFWFS "SJNBUIFB BQSPNJOFOUNFNCFSPGUIFDPVODJM XIPXBT UIJTTJOJTUFS PSUPUIJTFYUFOU0OFSFBTPOIFNBZIBWFUVSOFE IJNTFMGXBJUJOHGPSUIFLJOHEPNPG(PE XFOUCPMEMZUP1JMBUF UPSFMJHJPVTXPSLXBTCFDBVTF BGUFSCFJOHEJTNJTTFEGSPNUIF BOEBTLFEGPS+FTVTCPEZ<>wJO+FXJTIUSBEJUJPO BCPEZNVTU "SNZ IBWJOHBOFSWPVTCSFBLEPXO BOEMFBWJOHIJTXJGFBOE 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CFGPSFUIFQBJOUJOHBOEEBUFEGPSUIFTFSJFTDPNQMFUJPO OPU BSFOUNBOZëHVSFTJOBQJFDFJUJTTPNFUJNFTEJïDVMUUPUFMM UIFJOEJWJEVBMQJFDFɨFQSJOUBMMPXTGPSBEJêFSFOUWJFXPG UIFUXPXPNFOBQBSU KVTUBTJO#FDLNBOOTDescent from the the Descent from the Cross,BMMPXJOHUIFWJFXFSUPGPDVTPOUIF CrossɨFQBJOUJOHTIPXTUXPXPNFOLOFFMJOHCFMPXUIF TVCKFDUNBUUFSBOEMJOFTXJUIPVUUIFDPMPSBOEIJHIMJHIUT DSPTT DSZJOHBOEIPMEJOHIBOETɨFXPNBOPOUIFMFGUMPPLT "UëSTUHMBODF .BY#FDLNBOOTQJFDFDescent from the NVDIPMEFSBOENPSFEJTUSFTTFEUIBOUIFPUIFSTIFIBTPOF Cross JTIBSEBUMPPLBUCFDBVTFPGJUTSBX OPOJEFBMQSPQPSUJPOT IBOESBJTFEOFBSIFSGBDFXJUIIFSIFBEUVSOFEBTJGJOBHPOZ BOEBCTUSBDUFYQMBOBUJPOPGUIFëHVSFPG$ISJTUɨF ɨFXPNBOPOUIFSJHIUIBTBTNBMMFSOPTFBOEOPKPVMFTPS FYQSFTTJPOJTUTUZMFVTFEDSFBUFTBDPME BOETPNFXIBUEJTUVSCJOH CBHTVOEFSIFSFZFT JOEJDBUJOHUIBUTIFJTZPVOHFSBOEFBTJMZ BUNPTQIFSFGPSXIBUJTVTVBMMZUIPVHIUUPCFTBDSFE QBTTJPOBUF JEFOUJGZJOHIFSBT.BSZ.BHEBMFOF*OTUFBEPGCFJOHTIPXO TVCKFDUNBUUFSɨFFMPOHBUFE EJTUPSUFEëHVSFPG$ISJTUëMMT DBSFTTJOH$ISJTU 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Expressionists. -POEPOɨBNFTBOE)VETPO IBEWJTJUFEKFTVTJOUIFOJHIUw e Holy Bible, New International Version, Q ((SBOESBQJET;POEFSWBO1VCMJTIJOH)PVTF Q 14 &ODZDMPQFEJB#SJUBOOJDB0OMJOF Dry point BDDFTTFEPO"QSJM *OUIF(PTQFMT.BSZ.BHEBMFOFJTBMXBZTJEFOUJëFECVUUIF7JSHJO IUUQXXXCSJUBOOJDBDPN&#DIFDLFEUPQJDErZQPJOU .BSZJTOPUJEFOUJëFEBUBMM*O.BUUIFXBOE.BSL.BSZ 15 ɨFDescent from the Cross is located in a series called Faces, EBUFE .BHEBMFOFBOE.BSZUIFNPUIFSPG+BNFTBSFJEFOUJëFE XIJMF-VLFBOE Museum of Modern Art. ɨF$PMMFDUJPO. 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