;;;;;;;;;;;;;;;;;;;;;; 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$ISJTUEVSJOHBQBJOGVMUJNF CVUOPBSUJTUIBTCFFOBT UISPVHITVJDJEF6QPOMFBWJOHëFMEDPOEJUJPOT #FDLNBOO WVMHBSBT#FDLNBOO XBTUSBOTGFSSFEUPBCBTFIPTQJUBM XIFSFIFTLFUDIFEIJT .BY#FDLNBOOXBTOFWFSUIFBWFSBHFBSUJTU BOECFDBVTF PCTFSWBUJPOTBOEUIFQBJOPOFBDIQBUJFOUTGBDF10 PGIJTMJGFDIPJDFT IFDIBOHFEBTBQFSTPO UIVTDPOUSJCVUJOHUP "GUFSCFJOHFYQPTFEUPIBSTIDPOEJUJPOT EFBUI BOEUIF IJTTUZMFPGBSU)PXDPVMEPOFNBOVTFBSUUPQPSUSBZEFBUITP QVSFUSVUIPGXIBUXBTJOWPMWFEJOUIFXBS DIBOHFE#FDLNBOO SFBMJTUJDBMMZ BOEXIZ )PXEPFTUIJTEJTUVSCJOHQJFDFDPNQBSF BOEIJTFBSMZTUZMFPGBSU11ɨFNBKPSEJêFSFODFJOIJTBSUXPSL UPPUIFSEFQPTJUJPOTUISPVHIPVUUIFIJTUPSZPGBSU "MUIPVHIIJT CFGPSFXBTUIBUJUGBJMFEUPQFOFUSBUFJOUPiUIFTPVMTPG TUZMFIBEESBTUJDEJêFSFODFTUIBUTFQBSBUFEIJNGSPNUIFPUIFS UIJOHTw12)FCFDBNFNPSFJOUFSFTUFEJOBCTUSBDUFEIVNBOGPSN BSUJTUTPGIJTUJNF IJTTZNCPMJTNBOETVCKFDUNBUUFSEJEOPU BOETIBQFTUIBUQSFTTFEBHBJOTUFBDIPUIFSSBUIFSUIBODSFBUJOHB TUSBZGSPNUIFFTUBCMJTIFEIJTUPSZ TQBDFCFUXFFOUIFNɨFEFQUIJOIJTBSUXPSLCFHBOUPTISJOL .BY#FDLNBOOXBTCPSOJO(FSNBOZJO JOUIF BOEUIFëHVSFTCFDBNFDSPXEFEXJUIOPSPPNUPNPWFGSFFMZ FSBPG*NQSFTTJPOJTUQBJOUFSTBUJNFXIFSFBSUJTUTCFHBOUP JOTQBDF*O BUUIFBHFPGUIJSUZ #FDLNBOOTUBUFEJOUIF FYQFSJNFOUXJUIDPMPST UFDIOJRVFT BOETVCKFDUNBUUFS Kunst und KünstlerKPVSOBMi'PSNZTFMG *QVSTVFUIFBSUPG "MUIPVHIUIFHFOFSBUJPOBSPVOEIJNCFHBOUPTFBSDIGPS TQBDFBOEEFQUIXJUIBMMNZTPVMBOEUSZUPBDIJFWFNZPXO BSFOFXBMPGGPSN #FDLNBOXBTNPSFJOUFSFTUFEJOUIF )FDLNBOOT 'SJFESJDI-PðFS 'SJU[3PUFST &CFSIBSE8JFTF 4UFQIBO 1 DPOUJOVBUJPOPGUIFUSBEJUJPOUIBUIFIBEHSPXOVQXJUI And WPOGerman Expressionism 1915-1925, e Second Generation. .VOJD BTNBOZBSUJTUTCFHBOFYQFSJNFOUJOHBOEGPSNJOHHSPVQTMJLF 1SFTUFM7FSMBH Q 3PI 'SBOYGerman Painting in the 20th Century. (SFFOXJDI/FX:PSL UIF#MBVF3FJUFSBOE#SàDLFQBJOUFST #FDLNBOOTUPPEBMPOF (SBQIJD4PDJFUZ Q JOJTPMBUJPO2*OTUFBEPGGPMMPXJOHUIFUSFOEJOBSU IFEFDJEFE &YDFSQUGSPN.BY#FDLNBOOTKPVSOBM%VCF 8PMG%JFUFS e Expressionists. -POEPOɨBNFTBOE)VETPO Q UPGPMMPXIJTPXOEFTJSFT8IBUTFQBSBUFE#FDLNBOOTBSUJTUJD #VFOHFS #BSCFSB$i.BY#FDLNBOOT*EFPMPHVFT4PNFGPSHPUUPO FYQSFTTJPOGSPNUIPTFHSPVQTXBTIJTiFYUFOTJWFCVUTVCUMFVTF 'BDFTw e Art Bulletin,7PM OP Q 4FM[ 1FUFS)PXBSEMax Beckmann .VTFVNPG.PEFSO"SU /FX:PSL 3 PGUIFDPMPSCMBDLw 8IJMFPUIFSTQJDLFEiGFTUJWFDPMPSTBTB "ZFS1VCMJTIJOH Q NFUBQIPSGPSKPZBOEWJUBMJUZw#FDLNBOOTUSBZFEGSPNUIF #VFOHFS #BSCFSB$i.BY#FDLNBOOT*EFPMPHVFT4PNFGPSHPUUPO %VCF 8PMG%JFUFS e Expressionists. -POEPOɨBNFTBOE)VETPO 'BDFTw e Art Bulletin,7PM OP Q Q 10 4FM[ 1FUFS)PXBSEMax Beckmann .VTFVNPG.PEFSO"SU /FX:PSL 3PI 'SBOYGerman Painting in the 20th Century. (SFFOXJDI/FX:PSL "ZFS1VCMJTIJOH Q (SBQIJD4PDJFUZ Q 11 )BGUNBOO 8FSOFSGerman Art of the Twentieth Century. /FX:PSLɨF )FDLNBOOT 'SJFESJDI-PðFS ' SJU[3PUFST &CFSIBSE8JFTF 4UFQIBO .VTFVNPG.PEFSO"SU Q WPOGerman Expressionism 1915-1925, e Second Generation. .VOJD 12 %VCF 8PMG%JFUFS e Expressionists. -POEPOɨBNFTBOE)VETPO 1SFTUFM7FSMBH Q Q HOHONU Volume 8 2010 - 65 TUZMFJOJUw13 BGFXWFSZWJUBMDPNQPOFOUTUPUIFSFQSFTFOUBUJPO0OFWFSZ #FUXFFOBOE #FDLNBOOIBEBTVEEFOVSHFUP JNQPSUBOUNBOUP$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 CFUBLFOEPXOCFGPSFTVOTFUBOECVSJFEJOPSEFSUPQSFTFSWF TPO IFXBTMFGUGFFMJOHBMPOF USBVNBUJ[FE BOEEJTUSFTTFE UIFTPVM171POUJVT1JMBUFBMMPXFEUIF3PNBOHVBSETUPSFMFBTF $SFBUJOHSFMJHJPVTXPSLNBZIBWFCFFODPNGPSUJOHEVSJOHIJT $ISJTUTCPEZUP+PTFQIGPSCVSJBM*OUIFQBJOUJOH +PTFQIDBO UJNFPGBHPOZBTìBTICBDLTPGXBSPWFSXIFMNFEIJN4PNF CFSFDPHOJ[FEBTUIFPMEFSNBOXJUIBCFBSE TIPXOIPMEJOH $ISJTUJBOXPSLIFDPNQPTFEXBTFOUJUMFEAdam and Eve in $ISJTUTVQQFSCPEZBOEMPXFSJOHJUGSPNUIFDSPTTɨF Resurrection in 1918, and Cruci xion. &BDIJNBHFIPMET TFDPOENBODPNNPOMZTIPXOBTTJTUJOHXJUI$ISJTUTCPEZIBT UIFTBNFRVBMJUJFTUIBUIFFNQIBUJDBMMZEJTDPWFSFEEVSJOHXBS CFFOJEFOUJëFEJOUIF(PTQFMPG+PIOBT/JDPEFNVT BMTPBO TIBSQCMBDLMJOFT TPMFNOëHVSFTQSPKFDUJOHJOUFOTFFNPUJPO VOEFSDPWFSEJTDJQMF18/JDPEFNVTJTVTVBMMZTIPXOBTBZPVOHFS BOEBDPMEDPMPSQBMMFU NBOBTTJTUJOH+PTFQI CVUBMXBZTDBSSZJOHBMPXFSQPSUJPOPG #FDLNBOOXBTOPUPOMZJOUFSFTUFEJOQBJOUJOH CVUBMTP $ISJTUTCPEZ*OLFFQJOHXJUIUIJTUSBEJUJPO #FDLNBOOTIPXT JOESZQPJOU BDPNNPOUFDIOJRVFUIBUIFVTFEGPSIJTXPSL +PTFQIXJUIBTNBMMXIJUFNVTUBDIFBOEXIJUFIBJSDBSSZJOHUIF %SZQPJOUJTBOiFOHSBWJOHNFUIPEJOXIJDIUIFEFTJHOUPCF $ISJTUëHVSFTDIFTU BOEUPUIFSJHIUPG+PTFQIJTUIFZPVOHFS QSJOUFEJTTDSBUDIFEEJSFDUMZJOUPBDPQQFSQMBUFXJUIBTIBSQMZ /JDPEFNVTIPMEJOHVQ$ISJTUCZIJTIJQTɨFNFOMPPLBTJG QPJOUFEJOTUSVNFOUw14ɨJTNFUIPEPGBSUBMMPXT#FDLNBOO UIFZBSFTUSVHHMJOHUPIPMEVQ$ISJTUTTLJOOZ MJGFMFTTCPEZ UPVTFCMBDLPVUMJOFTBTUIFCBTJTGPSIJTXPSL XIJDINBZ In addition to this, there are always at least two women IBWFIBEBOJNQBDUPOIJTQBJOUJOH6TJOHUIJTUFDIOJRVF TIPXOXFFQJOHOFBSUIFGPPUPGUIFDSPTTɨFTFXPNFOBSF #FDLNBOODSFBUFEBDescent from the CrossBTBNJSSPSJNBHF JEFOUJëFEBT$ISJTUTNPUIFS.BSZ XIPJTTPNFUJNFTGBJOU UPUIFQBJOUJOH15"MUIPVHIUIFQSJOUJTTBJEUPCFDSFBUFEJO BOE.BSZ.BHEBMFOF VTVBMMZTIPXODBSFTTJOH$ISJTUTGFFUPS BZFBSBGUFSUIFQBJOUJOHXBTDSFBUFE JUJTBMTPMPDBUFEJO IBOE*GUIFBSUJTUDIPPTFTUPëMMUIFTQBDFXJUIPUIFSQFPQMF a series called Faces.ɨFQSJOUNBZIBWFFBTJMZCFFODSFBUFEGBS UIFSPMFTPGUIFUXPXPNFOBSFFYBHHFSBUFE)PXFWFSJGUIFSF CFGPSFUIFQBJOUJOHBOEEBUFEGPSUIFTFSJFTDPNQMFUJPO OPU BSFOUNBOZëHVSFTJOBQJFDFJUJTTPNFUJNFTEJïDVMUUPUFMM UIFJOEJWJEVBMQJFDFɨFQSJOUBMMPXTGPSBEJêFSFOUWJFXPG UIFUXPXPNFOBQBSU KVTUBTJO#FDLNBOOTDescent from the the Descent from the Cross,BMMPXJOHUIFWJFXFSUPGPDVTPOUIF CrossɨFQBJOUJOHTIPXTUXPXPNFOLOFFMJOHCFMPXUIF TVCKFDUNBUUFSBOEMJOFTXJUIPVUUIFDPMPSBOEIJHIMJHIUT DSPTT DSZJOHBOEIPMEJOHIBOETɨFXPNBOPOUIFMFGUMPPLT "UëSTUHMBODF .BY#FDLNBOOTQJFDFDescent from the NVDIPMEFSBOENPSFEJTUSFTTFEUIBOUIFPUIFSTIFIBTPOF Cross JTIBSEBUMPPLBUCFDBVTFPGJUTSBX OPOJEFBMQSPQPSUJPOT IBOESBJTFEOFBSIFSGBDFXJUIIFSIFBEUVSOFEBTJGJOBHPOZ BOEBCTUSBDUFYQMBOBUJPOPGUIFëHVSFPG$ISJTUɨF ɨFXPNBOPOUIFSJHIUIBTBTNBMMFSOPTFBOEOPKPVMFTPS FYQSFTTJPOJTUTUZMFVTFEDSFBUFTBDPME BOETPNFXIBUEJTUVSCJOH CBHTVOEFSIFSFZFT JOEJDBUJOHUIBUTIFJTZPVOHFSBOEFBTJMZ BUNPTQIFSFGPSXIBUJTVTVBMMZUIPVHIUUPCFTBDSFE QBTTJPOBUF JEFOUJGZJOHIFSBT.BSZ.BHEBMFOF*OTUFBEPGCFJOHTIPXO TVCKFDUNBUUFSɨFFMPOHBUFE EJTUPSUFEëHVSFPG$ISJTUëMMT DBSFTTJOH$ISJTU IFSF.BHEBMFOFJTDPNGPSUJOHBOEDBSFTTJOH UIFTQBDFVTJOHTIBSQEJBHPOBMTXIJMFUIFSFTUPGUIFJNBHF UIFIBOEPG$ISJTUTNPUIFS UIF7JSHJO.BSZ QVTIFTUPHFUIFS JOXBSEBOEVQ DSFBUJOHOPWJTVBMEFQUI.BY $PNNPOMZJODMVEFEJOJNBHFTPGUIFEFTDFOUGSPNUIF #FDLNBOOTFFNFEUPXBOUUPDBQUVSFUIFCMVOUJNQFSGFDUJPOPG DSPTTBSFMBEEFST XIJDIXFSFQSJNBSJMZVTFEJOUIFDSVDJëYJPO SFBMJUZXJUIPVUDSFBUJOHBOZGBMTFJNBHFSZ)JTCSVTIXPSLJTWFSZ ɨFMBEEFSXBTVTFEUPQVU$ISJTUVQPOUIFDSPTTBOEUIFO MPPTFBOEQBJOUFSMZ XJUIBUIJODPBUPGDPMEDPMPST CVUJUTTUJMM UPUBLFIJNEPXO+PTFQIBOE/JDPEFNVTNBZIBWFBMTPVTFE OFBUMZDPNQPTFEXJUIJOIJTDPNNPOVTFPGEBSL CMBDLMJOFT .BY#FDLNBOOTDescent from the Cross does not have as 16 3ZODL 1BUSJDL%F How to Read a Painting: Lessons from the Old Master ( NVDIEFUBJMBOEJTOPUBTJOUSJDBUFBTTPNFPGUIFFBSMZQJFDFT /FX:PSL)BSSZ/"CSBNT Q 17 .BSL e Holy Bible, New International Version, (SBOESBQJET IPXFWFS JOLFFQJOHXJUIUSBEJUJPO #FDLNBOOEPFTJODMVEF ;POEFSWBO1VCMJTIJOH)PVTF Q 18 +PIOi)FXBTBDDPNQBOJFECZ/JDPEFNVT UIFNBOXIPFBSMJFS 13 %VCF 8PMG%JFUFS e 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. BY#FDLNBOO BDDFTTFE +PIOOBNFOPXPNFO e Holy Bible,