#germanart — Public Fediverse posts

https://harvardartmuseums.org/collections/object/304344?rendition=78701

Max Beckmann -- Self-Portrait in Tuxedo -- 1927

#Art MaxBeckmann #GermanArt #1920s #SelfPortrait #WeimarRepublic

https://harvardartmuseums.org/collections/object/304344?rendition=78701

Max Beckmann -- Self-Portrait in Tuxedo -- 1927

#Art MaxBeckmann #GermanArt #1920s #SelfPortrait #WeimarRepublic

https://harvardartmuseums.org/collections/object/304344?rendition=78701

Max Beckmann -- Self-Portrait in Tuxedo -- 1927

#Art MaxBeckmann #GermanArt #1920s #SelfPortrait #WeimarRepublic

https://harvardartmuseums.org/collections/object/304344?rendition=78701

Max Beckmann -- Self-Portrait in Tuxedo -- 1927

#Art MaxBeckmann #GermanArt #1920s #SelfPortrait #WeimarRepublic

https://harvardartmuseums.org/collections/object/304344?rendition=78701

Max Beckmann -- Self-Portrait in Tuxedo -- 1927

#Art MaxBeckmann #GermanArt #1920s #SelfPortrait #WeimarRepublic

The Visit - Couple and Newcomer -- Ernst Ludwig Kirchner -- Oil on canvas -- 1922 -- National Gallery of Art, Washington DC.

#Art #Painting #ErnstKirchner #Kirchner #GermanArt #20thCentury #TheVisit

The Visit - Couple and Newcomer -- Ernst Ludwig Kirchner -- Oil on canvas -- 1922 -- National Gallery of Art, Washington DC.

#Art #Painting #ErnstKirchner #Kirchner #GermanArt #20thCentury #TheVisit

"IMG_9909 Max Beckmann. 1884-1950. Reclining Woman with Pinks. Femme couchée avec des roses. vers 1941. Hannover. Sprengel Museum." by jean louis mazieres is licensed under CC BY-NC-SA 2.0.

#Art #Painting #MaxBeckmann #GermanArt #20thCenturyArt #1940s

"IMG_9909 Max Beckmann. 1884-1950. Reclining Woman with Pinks. Femme couchée avec des roses. vers 1941. Hannover. Sprengel Museum." by jean louis mazieres is licensed under CC BY-NC-SA 2.0.

#Art #Painting #MaxBeckmann #GermanArt #20thCenturyArt #1940s

"IMG_9909 Max Beckmann. 1884-1950. Reclining Woman with Pinks. Femme couchée avec des roses. vers 1941. Hannover. Sprengel Museum." by jean louis mazieres is licensed under CC BY-NC-SA 2.0.

#Art #Painting #MaxBeckmann #GermanArt #20thCenturyArt #1940s

"IMG_9909 Max Beckmann. 1884-1950. Reclining Woman with Pinks. Femme couchée avec des roses. vers 1941. Hannover. Sprengel Museum." by jean louis mazieres is licensed under CC BY-NC-SA 2.0.

#Art #Painting #MaxBeckmann #GermanArt #20thCenturyArt #1940s

"IMG_9909 Max Beckmann. 1884-1950. Reclining Woman with Pinks. Femme couchée avec des roses. vers 1941. Hannover. Sprengel Museum." by jean louis mazieres is licensed under CC BY-NC-SA 2.0.

#Art #Painting #MaxBeckmann #GermanArt #20thCenturyArt #1940s

Max Beckmann -- Pensive woman on the seafront -- 1937-- Bremen Kunsthalle -- Photo; Jean Louis Mazieres -- CC BY-NC-SA 2.0

#Art #Painting #GermanArt #20thCentury #MaxBeckmann #1930s

Max Beckmann -- Pensive woman on the seafront -- 1937-- Bremen Kunsthalle -- Photo; Jean Louis Mazieres -- CC BY-NC-SA 2.0

#Art #Painting #GermanArt #20thCentury #MaxBeckmann #1930s

Max Beckmann -- Pensive woman on the seafront -- 1937-- Bremen Kunsthalle -- Photo; Jean Louis Mazieres -- CC BY-NC-SA 2.0

#Art #Painting #GermanArt #20thCentury #MaxBeckmann #1930s

Max Beckmann -- Pensive woman on the seafront -- 1937-- Bremen Kunsthalle -- Photo; Jean Louis Mazieres -- CC BY-NC-SA 2.0

#Art #Painting #GermanArt #20thCentury #MaxBeckmann #1930s

Max Beckmann -- Pensive woman on the seafront -- 1937-- Bremen Kunsthalle -- Photo; Jean Louis Mazieres -- CC BY-NC-SA 2.0

#Art #Painting #GermanArt #20thCentury #MaxBeckmann #1930s

Max Beckmann -- Quappi in Armchair -- Crayon and chalk on paper -- 1927 -- Staatliche Museen zu Berlin

I've only learnt of this picture recently.
I've fallen so madly in love with it that I can't put into words why I love it so much.

#Art #GermanArt #MaxBeckmann #Quappi #Drawing #1920s #20thCenturyArt

Max Beckmann -- Quappi in Armchair -- Crayon and chalk on paper -- 1927 -- Staatliche Museen zu Berlin

I've only learnt of this picture recently.
I've fallen so madly in love with it that I can't put into words why I love it so much.

#Art #GermanArt #MaxBeckmann #Quappi #Drawing #1920s #20thCenturyArt

Max Beckmann -- Quappi in Armchair -- Crayon and chalk on paper -- 1927 -- Staatliche Museen zu Berlin

I've only learnt of this picture recently.
I've fallen so madly in love with it that I can't put into words why I love it so much.

#Art #GermanArt #MaxBeckmann #Quappi #Drawing #1920s #20thCenturyArt

Max Beckmann -- Quappi in Armchair -- Crayon and chalk on paper -- 1927 -- Staatliche Museen zu Berlin

I've only learnt of this picture recently.
I've fallen so madly in love with it that I can't put into words why I love it so much.

#Art #GermanArt #MaxBeckmann #Quappi #Drawing #1920s #20thCenturyArt

Max Beckmann -- Quappi in Armchair -- Crayon and chalk on paper -- 1927 -- Staatliche Museen zu Berlin

I've only learnt of this picture recently.
I've fallen so madly in love with it that I can't put into words why I love it so much.

#Art #GermanArt #MaxBeckmann #Quappi #Drawing #1920s #20thCenturyArt

George Grosz -- Pillars Of Society -- Oil on canvas -- 1926 -- Staatliche Museen zu Berlin, Nationalgalerie

I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of radicalization, or whether, on the other hand, it is or was so overwhelmingly and indiscriminately polemical as to leave viewers in a state of general disgust about their society and ultimately in a state of demobilising despair about the possibility of change for the better.

#Art #Painting #PoliticalArt
#GeorgeGrosz #GermanArt #20thCenturyArt #NeueSachlichkeit
#WeimarRepublic

George Grosz -- Pillars Of Society -- Oil on canvas -- 1926 -- Staatliche Museen zu Berlin, Nationalgalerie

I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of radicalization, or whether, on the other hand, it is or was so overwhelmingly and indiscriminately polemical as to leave viewers in a state of general disgust about their society and ultimately in a state of demobilising despair about the possibility of change for the better.

#Art #Painting #PoliticalArt
#GeorgeGrosz #GermanArt #20thCenturyArt #NeueSachlichkeit
#WeimarRepublic

George Grosz -- Pillars Of Society -- Oil on canvas -- 1926 -- Staatliche Museen zu Berlin, Nationalgalerie

I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of radicalization, or whether, on the other hand, it is or was so overwhelmingly and indiscriminately polemical as to leave viewers in a state of general disgust about their society and ultimately in a state of demobilising despair about the possibility of change for the better.

#Art #Painting #PoliticalArt
#GeorgeGrosz #GermanArt #20thCenturyArt #NeueSachlichkeit
#WeimarRepublic

George Grosz -- Pillars Of Society -- Oil on canvas -- 1926 -- Staatliche Museen zu Berlin, Nationalgalerie

I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of radicalization, or whether, on the other hand, it is or was so overwhelmingly and indiscriminately polemical as to leave viewers in a state of general disgust about their society and ultimately in a state of demobilising despair about the possibility of change for the better.

#Art #Painting #PoliticalArt
#GeorgeGrosz #GermanArt #20thCenturyArt #NeueSachlichkeit
#WeimarRepublic

George Grosz -- Pillars Of Society -- Oil on canvas -- 1926 -- Staatliche Museen zu Berlin, Nationalgalerie

I'm probably in the company of many here in being familiar with this pictorial indictment of the capitalist Germany of the mid twenties.

I can't make up my mind whether the unforgettable imagery is or was politically effective as a powerful agent and sustainer of radicalization, or whether, on the other hand, it is or was so overwhelmingly and indiscriminately polemical as to leave viewers in a state of general disgust about their society and ultimately in a state of demobilising despair about the possibility of change for the better.

#Art #Painting #PoliticalArt
#GeorgeGrosz #GermanArt #20thCenturyArt #NeueSachlichkeit
#WeimarRepublic

The Jeweller Karl Krall -- Otto Dix -- 1923 -- Oil on canvas -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s", Krall was not only, as a chamber music amateur, musical, but was also "musical", to use the term used in 1920s British English to describe gay men.

The catalogue entry suggests that beneath Krall's jacket, "there must be a corset that is much too tight. Severe discomfort makes the blood rush to Krall's face, turning it purple-red with bluish accents. Veins on his forehead seem ready to pop."

As with so many of the other portraits, I find myself fascinated by this picture. Is Dix's depiction of the hour glass figured jeweller a frank depiction of Krall's style in foundation garments, or does it function as the painter's possibly contemptuous verdict on male homosexuality?

#Art #Painting #Portrait #OttoDix #GermanArt #20thCenturyArt #NeueSachlichkeit #KarlKrall #Gay #Homosexual #Homophobia #Corset #TightWaisting #WeimarRepublic

The Jeweller Karl Krall -- Otto Dix -- 1923 -- Oil on canvas -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s", Krall was not only, as a chamber music amateur, musical, but was also "musical", to use the term used in 1920s British English to describe gay men.

The catalogue entry suggests that beneath Krall's jacket, "there must be a corset that is much too tight. Severe discomfort makes the blood rush to Krall's face, turning it purple-red with bluish accents. Veins on his forehead seem ready to pop."

As with so many of the other portraits, I find myself fascinated by this picture. Is Dix's depiction of the hour glass figured jeweller a frank depiction of Krall's style in foundation garments, or does it function as the painter's possibly contemptuous verdict on male homosexuality?

#Art #Painting #Portrait #OttoDix #GermanArt #20thCenturyArt #NeueSachlichkeit #KarlKrall #Gay #Homosexual #Homophobia #Corset #TightWaisting #WeimarRepublic

The Jeweller Karl Krall -- Otto Dix -- 1923 -- Oil on canvas -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s", Krall was not only, as a chamber music amateur, musical, but was also "musical", to use the term used in 1920s British English to describe gay men.

The catalogue entry suggests that beneath Krall's jacket, "there must be a corset that is much too tight. Severe discomfort makes the blood rush to Krall's face, turning it purple-red with bluish accents. Veins on his forehead seem ready to pop."

As with so many of the other portraits, I find myself fascinated by this picture. Is Dix's depiction of the hour glass figured jeweller a frank depiction of Krall's style in foundation garments, or does it function as the painter's possibly contemptuous verdict on male homosexuality?

#Art #Painting #Portrait #OttoDix #GermanArt #20thCenturyArt #NeueSachlichkeit #KarlKrall #Gay #Homosexual #Homophobia #Corset #TightWaisting #WeimarRepublic

The Jeweller Karl Krall -- Otto Dix -- 1923 -- Oil on canvas -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s", Krall was not only, as a chamber music amateur, musical, but was also "musical", to use the term used in 1920s British English to describe gay men.

The catalogue entry suggests that beneath Krall's jacket, "there must be a corset that is much too tight. Severe discomfort makes the blood rush to Krall's face, turning it purple-red with bluish accents. Veins on his forehead seem ready to pop."

As with so many of the other portraits, I find myself fascinated by this picture. Is Dix's depiction of the hour glass figured jeweller a frank depiction of Krall's style in foundation garments, or does it function as the painter's possibly contemptuous verdict on male homosexuality?

#Art #Painting #Portrait #OttoDix #GermanArt #20thCenturyArt #NeueSachlichkeit #KarlKrall #Gay #Homosexual #Homophobia #Corset #TightWaisting #WeimarRepublic

The Jeweller Karl Krall -- Otto Dix -- 1923 -- Oil on canvas -- Kunst und Museumsverien im Von der Heydt-Museum, Wuppertal.

According to the 2006 exhibition catalogue "Glitter and Doom: German Portraits from the 1920s", Krall was not only, as a chamber music amateur, musical, but was also "musical", to use the term used in 1920s British English to describe gay men.

The catalogue entry suggests that beneath Krall's jacket, "there must be a corset that is much too tight. Severe discomfort makes the blood rush to Krall's face, turning it purple-red with bluish accents. Veins on his forehead seem ready to pop."

As with so many of the other portraits, I find myself fascinated by this picture. Is Dix's depiction of the hour glass figured jeweller a frank depiction of Krall's style in foundation garments, or does it function as the painter's possibly contemptuous verdict on male homosexuality?

#Art #Painting #Portrait #OttoDix #GermanArt #20thCenturyArt #NeueSachlichkeit #KarlKrall #Gay #Homosexual #Homophobia #Corset #TightWaisting #WeimarRepublic

"Samson and Delilah," Max Liebermann, 1902.

Liebermann (1847-1935) was a brilliant artist at a horrible time. He was a leading proponent of German Impressionism, was a leader of the Berlin Secession, an influential avant-garde art movement, but late in life, at the height of his artistic power, his work was dropped by major galleries because he was Jewish, and later all work by Jewish artists was banned.

He died of natural causes, but his paintings, as well as his personal collection, were looted by the Nazis. Liebermann's heirs are still struggling to reclaim his property.

This version of the story is interesting; Liebermann presents it as a modern battle of the sexes, without reference to any sort of Biblical setting.

From the Städel Museum, Frankfurt.

#Art #GermanArt #JewishArtists #BannedByTheThirdReich #LootedByTheThirdReich #MaxLiebermann

"Samson and Delilah," Max Liebermann, 1902.

Liebermann (1847-1935) was a brilliant artist at a horrible time. He was a leading proponent of German Impressionism, was a leader of the Berlin Secession, an influential avant-garde art movement, but late in life, at the height of his artistic power, his work was dropped by major galleries because he was Jewish, and later all work by Jewish artists was banned.

He died of natural causes, but his paintings, as well as his personal collection, were looted by the Nazis. Liebermann's heirs are still struggling to reclaim his property.

This version of the story is interesting; Liebermann presents it as a modern battle of the sexes, without reference to any sort of Biblical setting.

From the Städel Museum, Frankfurt.

#Art #GermanArt #JewishArtists #BannedByTheThirdReich #LootedByTheThirdReich #MaxLiebermann

"Samson and Delilah," Max Liebermann, 1902.

Liebermann (1847-1935) was a brilliant artist at a horrible time. He was a leading proponent of German Impressionism, was a leader of the Berlin Secession, an influential avant-garde art movement, but late in life, at the height of his artistic power, his work was dropped by major galleries because he was Jewish, and later all work by Jewish artists was banned.

He died of natural causes, but his paintings, as well as his personal collection, were looted by the Nazis. Liebermann's heirs are still struggling to reclaim his property.

This version of the story is interesting; Liebermann presents it as a modern battle of the sexes, without reference to any sort of Biblical setting.

From the Städel Museum, Frankfurt.

#Art #GermanArt #JewishArtists #BannedByTheThirdReich #LootedByTheThirdReich #MaxLiebermann

"Samson and Delilah," Max Liebermann, 1902.

Liebermann (1847-1935) was a brilliant artist at a horrible time. He was a leading proponent of German Impressionism, was a leader of the Berlin Secession, an influential avant-garde art movement, but late in life, at the height of his artistic power, his work was dropped by major galleries because he was Jewish, and later all work by Jewish artists was banned.

He died of natural causes, but his paintings, as well as his personal collection, were looted by the Nazis. Liebermann's heirs are still struggling to reclaim his property.

This version of the story is interesting; Liebermann presents it as a modern battle of the sexes, without reference to any sort of Biblical setting.

From the Städel Museum, Frankfurt.

#Art #GermanArt #JewishArtists #BannedByTheThirdReich #LootedByTheThirdReich #MaxLiebermann

"Samson and Delilah," Max Liebermann, 1902.

Liebermann (1847-1935) was a brilliant artist at a horrible time. He was a leading proponent of German Impressionism, was a leader of the Berlin Secession, an influential avant-garde art movement, but late in life, at the height of his artistic power, his work was dropped by major galleries because he was Jewish, and later all work by Jewish artists was banned.

He died of natural causes, but his paintings, as well as his personal collection, were looted by the Nazis. Liebermann's heirs are still struggling to reclaim his property.

This version of the story is interesting; Liebermann presents it as a modern battle of the sexes, without reference to any sort of Biblical setting.

From the Städel Museum, Frankfurt.

#Art #GermanArt #JewishArtists #BannedByTheThirdReich #LootedByTheThirdReich #MaxLiebermann

The Bewitched Mill
1913
Franz Marc
German, 1880–1916

Art Institute of Chicago

Marc was killed in the First World War, which also put an effective end to his and other expressionist artists' attempts to re-enchant modernity.

#Art #GermanArt #Expressionism #FranzMarc

The Bewitched Mill
1913
Franz Marc
German, 1880–1916

Art Institute of Chicago

Marc was killed in the First World War, which also put an effective end to his and other expressionist artists' attempts to re-enchant modernity.

#Art #GermanArt #Expressionism #FranzMarc

Lovis Corinth, 1902 - Charlotte Berend-Corinth

#lovis corinth #germanart #portrait #1900s #BerlinerSecession

Lovis Corinth, 1902 - Charlotte Berend-Corinth

#lovis corinth #germanart #portrait #1900s #BerlinerSecession

In honor of the Opiliones that years ago entered the kitchen & climbed the counter - to eat Schnitzel crumbs! It rotated a crumb like a cob of corn.

#arachnid #opiliones #harvestman #schnitzel #germanartists #germanart #art #mastoart #fediart