THE COVER Cole, Thomas B
JAMA : the journal of the American Medical Association,
12/2009, Volume:
302, Issue:
22
Journal Article
Peer reviewed
The German painter Max Beckmann is better known for his portraits than his landscapes. As a portraitist, he was chiefly concerned with how people develop a sense of themselves as individuals. ...Beckmann portrayed the world as a stage and its inhabitants as performers who have the opportunity to choose and discard one role after another, gaining experience and identity over time. Here, Beckmann's Moon Landscape oil on canvas painting, which was used as a cover page of an issue in JAMA, is highlighted.
Departure: Max Beckmann Harris, James C
Archives of general psychiatry,
09/2013, Volume:
70, Issue:
9
Journal Article
Peer reviewed
On July 19, 1937, the day after hearing Adolf Hitler's radio broadcast announcing the opening of the House of German Art, renowned expressionist Max Beckmann (1884-1950) and his wife Quappi fled ...Berlin for the Netherlands. They were never to return to Germany. The House of German Art, the first building erected by the new regime, would show only the finest art, that approved by the Third Reich, and none by modern artists now deemed degenerate. Hitler raved against decadent modern artists like Beckmann in his radio address. He demeaned modern artists, claiming that they see "our people as decadent cretins" and distort the world by painting meadows blue, skies green, and clouds sulfur yellow. Hitler ordered the Minister of the Interior to "prevent at least the further hereditary propagation of these gruesome optical disturbances." Thus, modern artists, along with people with mental illnesses, were targeted for sterilization in the Nazi eugenics campaign. PUBLICATION ABSTRACT
Warum gehören manche Künstler und Künstlerinnen, oder einzelne ihrer Werke, zum Wissenskanon der Moderne? Warum geraten andere in Vergessenheit oder landen bestenfalls im Depot? Welche Rolle spielen ...dabei Galerien und Kunsthandel, Kunstkritik und Museen?Dieser Band dokumentiert eine Kabinettausstellung im Frankfurter Städel Museum mit Gemälden von Helmut Kolle (1899-1931) und Plastiken von Max Beckmann (1884-1950) und richtet den Blick auf Strategien der Vermarktung, auf nationale Kategorien der Kunstkritik und auf die museale Verortung von Kunstwerken. Dies geschieht am Beispiel zweier Künstler, die in der Zwischenkriegszeit die Metropole Paris als künstlerischen Bezugspunkt teilten.
Visual artists Pablo Picasso, Max Beckmann, and Willem de Kooning all made comments about women, love and their work of art. Their words speak to an orientation or an idea, but those orientations and ...ideas are never complete. All three claim that there is a fundamental feeling relation between their inner states and the reality of the canvas, and in one way or another, an idea of womanhood haunts their creativity. Here, Hustvedt elaborates on how emotion affects the artists in creating their work of art.
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Warum gehören manche Künstler und Künstlerinnen, oder einzelne ihrer Werke, zum Wissenskanon der Moderne? Warum geraten andere in Vergessenheit oder landen bestenfalls im Depot? Welche Rolle spielen ...dabei Galerien und Kunsthandel, Kunstkritik und Museen?
Dieser Band dokumentiert eine Kabinettausstellung im Frankfurter Städel Museum mit Gemälden von Helmut Kolle (1899-1931) und Plastiken von Max Beckmann (1884-1950) und richtet den Blick auf Strategien der Vermarktung, auf nationale Kategorien der Kunstkritik und auf die museale Verortung von Kunstwerken. Dies geschieht am Beispiel zweier Künstler, die in der Zwischenkriegszeit die Metropole Paris als künstlerischen Bezugspunkt teilten.
This article presents a problem-solving model of creativity based on constraint selection. In the model, constraints come in pairs that (a) preclude reliable solutions and (b) promote search for ...novel ones. The most important constraint specifies a novel goal. Other constraints-source (elements for recombination), task (how materials are used), and subject (motif, theme)-are then strategically selected to realize the goal constraint. We use Fauvism to briefly introduce the model before analyzing the constraints selected by Max Beckmann and Philip Guston in the 2 mature phases of each artist's career. The analyses are then used to support our contention that constraint selection is central to creativity.
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German artist Max Beckmann (1844-1950) was also a diarist who wrote essays on art theory and four dramatic plays. Whilst scripting 'Ebbi', his tale of an urban fool, Beckmann created an enigmatic set ...of prints for the publishers Reinhard Piper. The print cycle, 'Der Jahrmarkt' (1921), contains ten images that appear to reinforce the prevailing reading of Beckmann as a commentator on the Theatre of Life. By re-focusing on the suite through a hermeneutic examination of the images, this article will instead propose that Beckmann structured 'Der Jahrmarkt' as a paradigmatic extension of specific Romantic literary and lexical procedures advocated by the German Romantic writer Jean Paul in his 'Vorschule der Ästhetik' (1813). (Author abstract)
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10.
The cover Southgate, M Therese
JAMA : the journal of the American Medical Association,
02/2002, Volume:
287, Issue:
6
Journal Article
Peer reviewed
Max Beckmann's painting "Christ and the Woman Taken in Adultery" is discussed, and Beckmann is profiled. Beckmann's paintings were profoundly influenced by his harrowing WWI experiences.
