Max Beckmann: Form

“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

“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 such a passion for painting! I am continually working at form. In actual drawing and in my head, and during my sleep. Sometimes I think I shall go mad, this painful, sensual pleasures tires and torments me so much. Everything else vanishes, time and space, and I think of nothing but how to paint the head of the resurrected Christ... Or how shall I paint Minkchen [his wife Minna] now, with her knees drawn up and her head leaning on her hand against the yellow wall with her rose, or the sparkling light in the dazzling whiteness of the anti-aircraft shell-bursts in the leaden, sun drenched sky…”

Max Beckmann

letter to his first wife Minna, from the front, 11 May, 1915; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 213
1900s - 1920s

Pain , Pleasure , Thinking , Sleep

“Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.”

Max Beckmann

Source: 1930s, On my Painting (1938), pp. 18-19

Life , Beauty

“The Ego is the great veiled mystery of the world... I believe in it and in its eternal, immutable form. Its path is, in some strange and peculiar manner, our path. And for this reason I am immersed in the phenomenon of the Individual, the so-called whole Individual, and I try in every way to explain and present it. What are you? What am I? Those are the questions that constantly persecute and torment me and perhaps also play some part in my art.”

Max Beckmann

1930s, On my Painting (1938)

World , Art , Way , Question

“One of my problems is to find the Ego, which has only one form and is immortal – to find it in animals and men, in the heaven and in the hell which together form the world in which we live.”

Max Beckmann

1930s, On my Painting (1938)

Men , World , Hell , Problem

“Learn by heart the forms to be found in nature, so that you can use them like the notes in a musical composition. That is what these forms are for. Nature is a marvelous chaos, and it is our job and our duty to bring order into that chaos and – to perfect it.”

Max Beckmann

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

Music , Nature , Learning , Heart

“Politics is a subordinate matter; its form of appearance constantly changes depending on the needs of the masses, the same way cocottes adjust to the needs of men by transforming and masking themselves. Because of that it is not fundamental. That is about what endures, what is unique, what is in the stream of illusions – what is eliminated from the workings of the shadows.”

Max Beckmann

In a letter to Stephan Lackner, Amsterdam, 29 January 1938; as quoted in Max Beckmann – On my Painting, in the preface, Mayen Beckmann; Tate Publishing London, 2003
1930s

Men , Way , Appearance , Change

“As a painter, cursed or blessed with a terrible and vital sensuousness, I must look for wisdom with my eyes. I repeat, with my eyes, for nothing could be more ridiculous or irrelevant than a 'philosophical conception' painted purely intellectually without the terrible fury of the senses grasping each visible form of beauty and ugliness.”

Max Beckmann

1930s, On my Painting (1938)

Wisdom , Beauty , Sense , Painting

“My aim is always to get hold of the magic of reality and to transfer this reality in painting – to make the invisible visible through reality... What helps me most in this task is the penetration of space. Height, width and depth are the three phenomena which I must transfer into one plane to form the abstract surface of the picture, and thus to protect myself from the infinity of space. My figures come and go, suggested by fortune or misfortune. I try to fix them divested of their apparent accidental quality.”

Max Beckmann

Source: 1930s, On my Painting (1938), p. 12

Reality , Help , Painting