Against the modernist tendency to dissolve the traditional genres, Beckmann remained a lifelong defender of classical genres: the depiction of the human figure—in the form of portraits, mythological tableaus, and acts—the still life, and the landscape. Famous as a painter of the human condition, he also renewed the genre of landscape painting with outstanding and haunting works that are virtually without equal in twentieth-century art. Beckmann’s landscapes allow the beholder to trace the development of his art in its purest form. Less shaped by allegorical layers of meaning, they directly reveal his magnificent qualities as a painter. Beckmann’s reserved view of the landscape remains striking: vistas framed by windows, curtains, parapets, columns, and elevated vantage points often mediate the distance between the inhabited world and the boundless expanses of nature. -Kunstmuseum Basel note. more: kunstmuseumbasel.ch/en/exhibitions/archive/max-beckmann/ The Nizza: Visitors experience a hint of the Mediterranean on the northern bank of the Main river with palms, fig trees, lemon trees and southern European plants in the area between the Frieden Bridge and Untermain Bridge. Thanks to its southern position, the slipstream of the quay walls and the sunlight reflected on the river, in Nizza exotic plants can flourish in a Mediterranean microclimate. The 4.42-hectare site is one of the largest publicly accessible gardens of southern European plants north of the Alps. -frankfurt.de/sixcms/detail.php?id=5021895&_ffmpar%5B_id_inhalt%5D=5020966 Max Beckmann The Nizza in Frankfurt am Main 1921 oil on cardboard 100.5 x 65.5 cm Kunstmuseum Basel, Switzerland
Posted on: Sat, 03 May 2014 03:31:42 +0000
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