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Animals are at the centre of Franz Marc’s paintings. For him, they embodied an original state of harmony with creation. To illustrate their pure and peaceful nature, he often depicted them lying on the ground, sleeping. This painting shows his own dog, the white shepherd mix Russi. The work marks a stylistic shift away from lifelike renderings towards experimentation with colour and form. Here, he was particularly interested in how the perception of the white tones in the fur changes against the likewise white snow cover, and how the colours influence each other. The dog’s stylised form is inspired by the Cubists’ angular design, which Marc had previously seen in exhibitions.
Max Beckmann - German, 1884 - 1950
Bathing Scene (The Green Cloak), 1934
East Building, Mezzanine — Gallery 217-A
After enduring a "great injury to his soul" during World War I, Max Beckmann channeled his experience of modern life into expressive images that haunt the viewer with their intensity of emotion and symbolism. Despite his early leanings toward academicism and Expressionism, he became one of the main artists associated with the Neue Sachlichkeit (New Objectivity) movement and created scathing visual critiques of the tumultuous interwar period. In later works, Beckmann strove toward open-ended stories that juxtaposed scenes from reality, dreams, myths, and fables. Throughout his career, he firmly opposed the turn toward abstract art and maintained his desire to "get hold of the magic of reality and to transfer this reality into painting." Beckmann's prowess at subtly layering figures and signs, as well as color and shadow, allowed him to successfully translate his reality into mesmerizing narrative paintings throughout his prolific career.
www.theartstory.org/artist/beckmann-max/
“Max Beckmann: The Formative Years, 1915-1925” focuses on the shift that occurred in Beckmann’s work during a crucial decade. Presented at Neue Galerie New York, this exhibition features approximately 100 works by the artist, comprising major paintings, drawings, and significant print portfolios, many on loan from museums and private collections in Europe and the United States. It offers an unprecedented focus on this ten-year period, when the artist’s style moved away from his Impressionistic origins to the verist style of the Neue Sachlichkeit (New Objectivity) that defined his later work, although he later distanced himself from this term and favored “transcendent objectivity” instead.
The dramatic shift in his approach can be traced back to his involvement in World War I. With the outbreak of hostilities, Beckmann spent time in East Prussia as a volunteer nurse in 1914. He was profoundly affected by his experience in the combat, even though his involvement was short-lived. In October 1914, in a letter to his wife Minna Beckmann-Tube, he wrote: “…my will to live is for the moment stronger than ever, even though I have already experienced dreadful things and died myself with them several times. Yet the more one dies, the more intensely one lives. I have been drawing, that protects one from death and danger.” The following year, he served as a medical orderly in Belgium. In July 1915, he suffered a nervous breakdown and was discharged from service in 1917.
Max Beckmann moved to Frankfurt to recover and his work changed as a result of the war. The painterly and romantic compositions of the pre-war years were replaced with more angular forms. His palette became darker and his use of paint more subdued. His subject matter evolved from history painting to embrace more contemporary subjects, sometimes viewed through a biblical lens. In September 1918, he wrote a short text entitled “Creative Credo,” where he defined his position in the current difficult times and indicated his intention to “be a part of all the misery that is coming.” But he also expressed a love for humanity, for “its meanness, its banality, its dullness, its cheap contentment, and its oh-so-very-rare heroism.” Beckmann’s post-war subjects were often more violent as he confronted political intolerance and exposed poverty and social injustice. He developed a new approach to art, and one that helped him to process painful memories and that acknowledged recent artistic developments that he had previously criticized.
The exhibition covers key topics: Portraiture and the Self-Portrait, Religious Paintings, Allegory, Still-Lifes, Landscapes, and Social Life in early Weimar Germany. Between 1917 and 1925, he became one of the most admired practitioners of representational painting. This status is confirmed by the prominent representation of Beckmann’s work in the 1925 “Neue Sachlichkeit” exhibition in Mannheim, which serves as the endpoint of this presentation and underscores the focus on the years 1915 to 1925. Our exhibition offers a unique opportunity to experience and understand the evolution of Beckmann’s mature art through a close reading.
www.neuegalerie.org/exhibitions/max-beckmann-the-formativ...
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
A male, who is walking or trying to dance. He had a strange approach in his behaviors that made me to give this name in the painting. It was created in quick poses for 5 or 10 minutes pose. It was a very interested practice that I tried to show all my feelings for model and the occasion.Movement, frustration, dance, self egoism, narcissism etc .It is a piece of personal experimentation/expressionism.