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THE COLLECTION

Max Beckmann (German, 1884–1950)

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About this work

Heather Hess, German Expressionist Digital Archive Project, German Expressionism: Works from the Collection. 2011.

In the portfolio Hölle (Hell), Max Beckmann journeys, Virgil-like, through Berlin. These ten oversize lithographs present an unflinching look at social disintegration and civil violence after the catastrophe of World War I. Beckmann visited Berlin in March 1919, and depicts himself amid the misery in Hölle; his self-portrait appears in five prints and on the front cover, which, in a handwritten note, promises the viewer an entertaining spectacle.

Unlike many of his compatriots, including the disfigured veteran he encounters in the first print, Der Nachhauseweg (The way home), Beckmann came back whole. He presents a fragmented city, with bodies jutting out of the pictures' frames and figures contorted in impossible spaces. In Die Strasse (The street), a thoroughfare is bustling with daytime activity, yet no one notices the man being carried off, arms flailing, by another man. In Das Martyrium (The martyrdom), under the cover of night, communist leader Rosa Luxemburg is about to be murdered. Speeches, songs, and even last stands are futile. No place is safe: Beckmann transforms an attic into a torture chamber in Die Nacht (Night), while quiet desperation pervades his own family's home in Der Hunger (Hunger). In the final print, Die Familie (The family), Beckmann's young son, Peter, mistakes a grenade for a toy. Beckmann brings the hell of war home in these prints. His publisher, J. B. Neumann, did not sell any when he exhibited them in 1919.

Max Beckmann (German, 1884–1950)

The Way Home (plate 2) [Der Nachhauseweg (Blatt 2)] from Hell (Die Hölle)

Date:
(1919)
Medium:
One from a portfolio of eleven lithographs (including front cover)
Dimensions:
composition (irreg.): 28 15/16 x 19 1/8" (73.5 x 48.5 cm); sheet (irreg.): 34 3/8 x 24 1/8" (87.3 x 61.2 cm)
Paper:
Cream, smooth, wove "japan."
Publisher:
J. B. Neumann, Berlin
Printer:
C. Naumann's Druckerei, Frankfurt am Main, Germany
Edition:
75; plus 4 known trial proofs
Credit Line:
Abby Aldrich Rockefeller Fund
Copyright:
© 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
Reference:
Glaser 122. Gallwitz 114. Hofmaier 140 B.
MoMA Number:
468.1949
Themes:
City Life, Postwar Politics
Techniques:
Lithography

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