Max Beckmann: Trending quotes

“The individual representation of the object, treated sympathetically or anti-pathetically, is highly necessary and is an enrichment to the world in form. The elimination of the human relationship causes the vacuum which makes all of us suffer in various degrees – an individual alteration of the details of the object represented is necessary in order to display on the canvas the whole physicals reality.”

Max Beckmann

Source: 1930s, On my Painting (1938), pp. 17-18

World , Reality , Suffering

“The world is rather shot to pieces [end of World War II - 1945], but the spectators climb out of their caves and pretend to have again become normal and customary humans who ask each other's pardon instead of eating one another or sucking each other's blood. The entertaining folly of war evaporates, distinguished boredom sits down again on the dignified old overstuffed chairs... May I report about myself that I have had a truly grotesque time, brim-full with work, Nazi persecutions, bombs, hunger, and again and again work – in spite of everything”

Max Beckmann

a. o. using his bed sheets as canvas for the new paintings
letter to de:Stephan Lackner, Amsterdam, 27 August 1945, as quoted in Max Beckmann, Stephan Lackner, Bonfini Press Corporation, Naefels, Switzerland, 1983, pp. 80 + 86
1940s

Hunger , War , World , Time

“Often, very often, I am alone. My studio in Amsterdam, [Beckmann lived and worked in the heart of Amsterdam during World War 2. ] an enormous old tobacco storeroom is again filled in my imagination with figures from the old days and from the new, like an ocean moved by storm and sun and always present in my thoughts. Then shapes become beings and seem comprehensible to me in the great void and uncertainty of the space which I call god.”

Max Beckmann

1930s, On my Painting (1938)

God , War , World , Imagination

“If one perceives of it all – the entire War or even life as a whole – as a scene in the theater of 'infinity', many things are much easier to bear.”

Max Beckmann

Beckmann's Diary, 12 September 1940, Amsterdam; as quoted on: 'Arts in exile' http://kuenste-im-exil.de
1940s

Life , War

“And then I awoke and yet continued to dream… painting constantly appeared to me as the one and only possible achievement. I thought of my grand old friend Henri Rousseau [French Primitive painter, died in 1910] that Homer in the porter's lodge whose prehistoric dreams have sometimes brought me near the gods. I saluted him in my dream. Near him I saw William Blake, noble emanation of English genius...'Have confidence in your objects,' he said, 'do not let yourself be intimidated by the horror of the world. Everything is ordered and correct and must fulfill its destiny in order to attain perfection. Seek this path'... I awoke and found myself in Holland in the midst of boundless world turmoil. But my belief in the final release and absolution of all things, whether they please or torment, was newly strengthened. Peacefully I laid my head among the pillows… to sleep, and dream, again.”

Max Beckmann

1930s, On my Painting (1938)

God , World , Dreams , Confidence

“One thing is sure – we have to transform the three-dimensional world of objects into the two-dimensional world of the canvas... To transform three into two dimensions is for me an experience full of magic in which I glimpse for a moment that fourth dimension which my whole being is seeking.”

Max Beckmann

Source: 1930s, On my Painting (1938), p. 16

World

“Thick rumors of imminent peace are in the air… Big spectacle with six or seven British tanks. In the afternoon, they played war once more at the Palaisplein [near Dam square in Amsterdam center] and at the Rokin [street where Beckmann lived for 8 years, as 'entartete' German artist under German occupation; The Netherlands was liberated by the Allies, 5 May 1945].”

Max Beckmann

In Max Beckmann, , Bonfini Press Corporation, Naefels, Switzerland, 1983, p. 80
1940s

War , Peace

“Today I wanted to die of weakness and melancholy again.”

Max Beckmann

Beckman's Diary, 31 March 1943, Amsterdam; as cited on: 'Arts in exile' http://kuenste-im-exil.de
1940s

“The editor of this catalog asked me to make a statement about my work. I don't have much to write:
- Be a child of your age.
- Be naturalistic against your own ego.
- Be matter-of- fact toward your inner visions
- My love is dedicated to the four great masters of masculine mysticism: Mäleskirchener ([church-painters / muralists, Grünewald, Breughel [both famous painters in the late Middle Ages, ed. ] and Van Gogh.”

Max Beckmann

a catalog-text for his first major graphic show, November 1917; as quoted in Max Beckmann, Stephan Lackner, Bonfini Press Corporation, Naefels, Switzerland, 1983, p. 14
1900s - 1920s

Love , Age

“I want to stay here [Amsterdam] for now, then maybe move on to Paris later on. For the interim, Amsterdam is not bad.”

Max Beckmann

In a letter on 4 August 1937 from Amsterdam, to writer and collector Stephan Lackner; as quoted on artists in exile http://kuenste-im-exil.de/
1930s

“Saw the English [pilots] coming from the sea in huge bands like the bristling hair of Zeus Jupiter. Heard all destroyed in Frankfurt. Sad…”

Max Beckmann

12 April 1944
notes in his diary, 1944, Amsterdam; as quoted on: 'Arts in exile' http://kuenste-im-exil.de
1940s

Sadness , Sea

“Is there to be no getting away from this loathsome vegetative physicality?... Utter contempt for the lewd enticements that always lure us back into life's clutches. And when, half-parched, we seek to quench our thirst, the gods laugh us to scorn.”

Max Beckmann

Beckmann's Diary-notes, 4 July, 1946, p. 156; as cited in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 113
Beckmann himself castigated the folly of supposing that sexual gratification leads to fulfillment.
1940s

Life , God

“A human face, a hand, a woman's breast or a manly body, an expression of conflicting joy and pain, the infinite ocean, savage crags, the melancholy speech of black trees against the snow, the fierce power of spring blossoms and the heavy lethargy of a hot summer noon when our old friend Pan is asleep and the ghost of noon are murmuring – all this is enough to make us forget the sorrows of the world, or to give them form. In any case the determination to give form to things brings with it part of the solution for which you are seeking. The path is hard and the goal can never be reached – but it is a path.”

Max Beckmann

Beckmann's lecture 'Drei Briefe an eine Malerin' ('Three letters to a Woman-painter'), New York and Boston, Spring 1948; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 214
1940s

Pain , World , Spring , Tree

“I have never, God or whatever knows, prostrated myself to be famous, but I would meander through all the sewers of the world, through all degradation and humiliations, in order to paint. I have to do this. Until the last drop every vision that exists in my being must be purged; then it will be a pleasure for me to be rid of this damned torture”

Max Beckmann

letter to his first wife Minna, from the front, 1915; as quoted in Max Beckmann, Stephan Lackner, Bonfini Press Corporation, Naefels, Switzerland, 1983, p. 5
1900s - 1920s

God , Pleasure , World , Painting

“Painting is a very difficult thing. It absorbs the whole man, body and soul – thus I have passed blindly many things which belong to the real and political life. I assume, though, that there are two worlds: the world of spiritual life and the world of political reality. Both are manifestations of life which may sometimes coincide but are very different in principle. I must leave it to you [the audience] to decide which is the more important.”

Max Beckmann

Source: 1930s, On my Painting (1938), p. 18

Life , World , Soul , Reality

“Very worried and nerveux for 1944. Life is dark – as is death. Close 1943.”

Max Beckmann

Beckman's Diary, 31 December 1943, Amsterdam; as cited on: 'Arts in exile' http://kuenste-im-exil.de
1940s

Life , Death

“It is not the subject which matters but the translation of the subject into the abstraction of the surface by means of painting. Therefore I hardly need to abstract things, for each object is unreal enough already, so unreal that I can only make it real by means of painting.”

Max Beckmann

Source: 1930s, On my Painting (1938), pp. 12-13

Painting

“Put the picture away or, preferably, send it back to me, dear Valentin. If people cannot understand it is based on their inner engagement with these matters, then there is no point in showing the thing at all.”

Max Beckmann

In a letter to his art-dealer Curt Valentin, Amsterdam, 11 February 1938; as quoted in Max Beckmann, Stephan Lackner, Bonfini Press Corporation, Naefels, Switzerland, 1983, p. 52
1930s

People , Understanding

“We're continually poring over plans, and the decision is difficult, but it's definitely coming soon. The idea with Barr is not bad and might convince me to take your advice, if B. really does get involved.”

Max Beckmann

In a letter from Amsterdam 15 February 1937, to Hans Swarzenski in Princeton, the Max Beckmann Archive, Christian Lenz; as quoted on: arts in exile http://kuenste-im-exil.de
In February 1937, his last hopes of a life in Germany had clearly faded, as he wrote to Hanns Swarzenski in Princeton on the 15th of the month. This quote refers to an invitation from Alfred H. Barr, Jr., Director of the Museum of Modern Art in New York, and to the idea of emigrating to the USA, to escape Nazi-threat.
1930s

Idea , Decision

“[it is] amusing all the same, how the peacetime life we cursed and groaned about now elevates itself with iron logic to the status of paradise..”

Max Beckmann

letter of April 1915; in: Briefe im Kriege, pp. 33 (March 28, 1915), 64 (May 21, 1915); as quoted in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 110
1900s - 1920s

Life