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215.5 cm × 314 cm (84.8 in × 124 in) Location. Museum of Modern Art, New York. Departure is an oil-on-canvas triptych by German artist Max Beckmann begun in Frankfurt in 1932 and completed in Berlin from 1933 to 1935. It was the first of nine triptychs that the artist created. The panels, according to Beckmann, are named The Castle (left ...
- 215.5 cm × 314 cm (84.8 in × 124 in)
- Max Beckmann
- 1932–1935
- Oil on canvas
The Beginning. On view at The Met Fifth Avenue in Gallery 601. As a child growing up in Leipzig, Germany, Beckmann was especially fond of illustrating imaginative journeys. In The Beginning, Beckmann looks back to his childhood with fondness and humor. Completed in 1949 when the artist was sixty-five years old, the panels are autobiographical.
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Order Oil Paintingreproduction. Max Beckmann (February 12, 1884 – December 27, 1950) was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement. In the 1920s, he was associated with the New Objectivity (Neue Sachlichkeit), an outgrowth of ...
- German
- February 12, 1884
- Leipzig, Germany
- December 28, 1950
Beckmann's painting are far removed from an overt didac-ticism or a mere comedy of manners. The earlier hard imagery of Eliot and the "objectivity" of Beckmann finally give way to a complex and ranging statement, sometimes. 9 wlt h an irony. Departure (Figure I) is the first of the triptychs (1934-37).
The Beginning (triptych) by Max Beckmann. One of the great modern paintings of the mid-20th century.. For an interpretation of other pictures from the 19th and 20th centuries, see: Analysis of Modern Paintings (1800-2000). Best-loved for his boldly painted self-portraits and powerful triptychs, Max Beckmann achieved early financial success with ...
Perseus. Triptych. Perseus, a son of Zeus, is a figure of antique mythology whose heroics have been portrayed by numerous artists up into modern times; the most well-known episode is the liberation of Princess Andromeda. The wife of King Cepheus boasted of being prettier than the nymphs of the sea, thus offending Poseidon, the god of the sea.
Max Beckmann's Carnival Triptych Despite the many recent inquiries into the art of Max Beckmann, much in his work-particularly the highly personalized symbolism-remains intriguingly elu-sive. The nine triptychs' which individually and as a group may be regarded as his major philosophic and artistic statements, have received much critical atten-
