Displaying items by tag: max beckmann

German public broadcaster Westdeutscher Rundfunk (WDR), which controversially put some of its art collection up for sale to pay off debts, has been banned from exporting two paintings by Ernst Ludwig Kirchner and Max Beckmann.

A spokesperson for North-Rhine Westphalia's culture minister Ute Schäfer confirmed that the state filed a request to add the works to the list of nationally important cultural goods, Rheinische Post reported.

Max Beckmann (1884-1950) was one of the most important German visual artists of the first half of the 20th century. The St. Louis Art Museum has the largest collection of his paintings in the world.

In recognition of that fact, the museum has just published “Max Beckmann at the Saint Louis Art Museum: The Paintings,” by Lynette Roth (published by Prestel, 272 pages, $65). It’s a volume that provides an intelligent layman’s guide to Beckmann — painter, sculptor, printmaker — and his world, as well as a detailed guide to the canvases in St. Louis.

To celebrate the 131st birthday of Max Beckmann today (Thursday, Feb. 12), the Saint Louis Art Museum announces the upcoming publication of a hardcover book by Lynette Roth exploring in depth the museum’s outstanding holdings of paintings by the German artist, the largest collection of its kind in the world.

Roth, a former Mellon Fellow at the Saint Louis Art Museum, is the Daimler-Benz Curator of the Busch-Reisinger Museum, Harvard Art Museums, in Cambridge, Mass.

Richly illustrated and filled with detailed information about one of the leading artists of the 20th century, Max Beckmann at the Saint Louis Art Museum will be published in June.

"Degenerate Art" is the term Adolf Hitler and his henchmen used to describe works they simply did not like. The Nazis are long gone. Much of the art they denounced has survived, and is now on view. Here's Erin Moriarty of "48 Hours":

In the cultural capital that was Berlin in the early 1930s, art and politics often clashed, with modern artists like George Grosz leading the charge.

"Grosz was fearless, and whether it was his art or politics, he spoke his mind," said Jonathan Petropoulos, a history professor at Claremont McKenna College in California. "He was probably the most famous Communist artist in Germany at the time, and he used his art as a weapon."

The heirs of Alfred Flechtheim, a prominent Jewish art dealer who fled Nazi Germany during World War II, are urging the German state of North-Rhine Westphalia to return artworks belonging to their relative. The paintings in question, which are by Paul Klee (1879-1940) and Juan Gris (1887-1927), are currently part of the Kunstsammlung Nordhein-Westfalen’s collection in Dusseldorf.

Before the perils of World War II took hold, Flechtheim was an established art dealer in Europe, representing a variety of well-known artists including Klee, Max Beckmann (1884-1950), and a number of French Cubists. Flechtheim ran galleries in Dusseldorf and Berlin, organized many exhibitions, and founded an art magazine. However, Flechtheim’s high standing in the art world made him an easy target for the Nazis. He fled Germany in 1933 shortly after a stream of hateful articles ran in the Nazi press. Flechtheim escaped to Zurich, then Paris before settling in London. After his getaway, Flechtheim’s Dusseldorf gallery was seized and turned over to his former employee Alex Voemel, a Nazi. Flechtheim’s gallery in Berlin was liquidated and his collection, which included works by Pierre-Auguste Renoir (1841-1919), Wassily Kandinsky (1866-1944), Fernand Leger (1881-1955), Georges Braque (1882-1963), and Henri Matisse (1869-1954), was sold.    

Mike Hulton, Flechtheim’s great-nephew, claims that Klee’s Feather Plant (1919) and Gris’ Still Life (Violin and Inkwell) (1913) were part of Flechtheim’s private collection and sold under duress for well below their value when he fled Germany. The Kunstsammlung Nordhein-Westfalen does not believe there is enough evidence to support Hulton’s claim. In addition, owners of archives that could help in the case are refusing to let provenance researchers access their information, bringing the dispute to a standstill. Officials from the Kunstsammlung Nordhein-Westfalen assert that if it was proven that Flechtheim was forced to sell the works by Gris and Klee or that he received little to no money for them, that they would part with the paintings, but the current evidence is inconsequential.

Flechtheim’s heirs are currently pursuing restitution for over 100 paintings in museums in the United States, France, Germany, and other European countries.