A Little Art History

Max Beckmann (1884-1950)

Few German painters have had a career as long and distinguished as did Max Beckmann. His accomplishments are even more remarkable when you consider how his contemporary peers had their lives tragically cut short while serving in war or were unable to regain their creative abilities following Nazi persecution.

Beckmann not only survived such misfortune, but actually excelled despite them. Between 1905 and 1950, he created more than eight hundred paintings and hundreds of prints and drawings, an incredible body of work under any circumstances.

Initially acclaimed by his country and then condemned by the Nazis, he was forced to flee his homeland and work in isolation while the war ravaged Europe. Beckmann didn't identify with a particular school or style. He preferred instead to expressionistically celebrate the grand traditions of painting such as the still life, portraits, and historical and mythological subjects.

Max Beckmann was born in Leipzig, Germany, in 1884, the youngest of three children. His father was a grain merchant who died when Max was only ten years old. By the age of fifteen, after finishing several years of boarding school, he decided to become a painter (over his family's objections).

From 1900 to 1903, he attended school in Weimar where he learned to draw from sculptures and live models and studied principally under Carl Frithjof Smith. While there, he met Minna Tube, a fellow artist whom he would later marry and have a son with.

By 1906, Beckmann had become an accomplished painter. During this time, he moved to Berlin to participate in exhibitions with the Berlin Secession, the then-predominant Modern German painting movement. Beckmann's paintings from this period are characterized with an Impressionistic style: landscapes and beach scenes rendered in stippled brushstrokes that accentuated the play of light across forms.

As a confirmation of their high regard, his colleagues elected him to the executive board of the Secession in 1910. But Beckmann preferred making art to making policy, so he resigned the following year in order to devote himself to painting.

In the years leading to World War I, Beckmann's work evolved into grand compositions of religious and mythical subjects in the tradition of Delacroix, Rubens, and Rembrandt. The war interrupted his work, however, and after serving as a medical volunteer for a year, he suffered a nervous breakdown and was sent to Frankfurt in 1915 to recuperate.

Within two years, Beckmann resumed painting. His new forms were more mannered and polished, his colors more intense, and his rendering of space more Cubist, with figures torturously compressed and tilting precariously. His new works revealed a tapestry of contemporary social criticism by using religious and mythical themes. He increasingly depicted masked and costumed circus characters as allegorical figures, a practice that became a hallmark of his art.

By the mid-1920's, Beckmann had become one of Germany's foremost Modern painters. His work was widely praised as a definitive example of Neue Sachlichkeit (or New Objectivity), a short-lived movement distinguished by the rejection of Expressionism and the revival of Realism. Neue Sachlichkeit was typically cynical in appearance, as it chronicled the bourgeois excesses of the ruling classes.

In 1925, he divorced Minna Tube and married Mathilde von Kaulbach, who became the subject of many of his important paintings. The following year, he had his first solo exhibition in the United States at the J. B. Neumann Gallery in New York. This show helped expand his renown to the international art community.

With several distinguished publications promoting his art, Beckmann was granted a large retrospective exhibition in 1928 at the Mannheim Art Museum. That same year, Beckmann received one of Germany's highest honors in the fine arts and a gold medal from the city of Dsseldorf in recognition of his artistic achievements. In 1929, he was awarded second prize at the Carnegie International Exhibition in Pittsburgh.

Beckmann's standing in art abruptly declined when Hitler was appointed chancellor in 1933. The Nazis viewed Modern art as morally and socially corrupt, so they started purging Germany's cultural institutions of everything they believed to be decadent. Beckmann's work, along with that of many highly regarded artists, was suddenly labeled "degenerate."

By 1937, Beckmann's art was methodically removed from German museums and nearly six hundred of his works had been confiscated. By July of that year Beckmann fled with his wife to live in Amsterdam, never to return. It was an abrupt and humiliating ending for an artist who had been hailed a national treasure only four years prior.

Beckmann's diaries from these years reveal his frequent visits to cabarets, carnivals, and the theater. On one level, these distractions offered temporary relief from the horrors of the war, tragedies that nonetheless found their way into his art. His paintings from these years - some of his most important works - display subjects whose identity is both constructed and obscured by masquerade.

Three of his triptychs (three-paneled works), The Acrobats (1939), The Actors (1941-42), and Carnival (1942-43), make specific reference to these genres, depicting a theatrical display of human tragedy rather than celebrating the lighthearted pleasure such spectacles typically evoke.

After World War II, Beckmann immigrated to the United States, where he taught and painted during the remaining years of his life. Again he had found widespread acceptance as a major contributor to twentieth-century art. When he died in December 1950, he had just finished The Argonauts (1949-50), the ninth in a series of monumental triptychs. His studio contained several unfinished canvases, including a tenth triptych--a testimony to the boundless creative energy that he possessed despite his failing health.

"Beckmann and Paris," at the Saint Louis Art Museum through May 9, includes nearly 100 paintings by Beckmann, Matisse, Picasso, and others to show that Beckmann's themes and aesthetic approaches have many parallels with those of his contemporaries in France. Subjects that Beckmann shared with his colleagues in Paris include elegant society portraits, colorful still lifes, and voluptuous nudes. The paintings, from public and private collections in Europe and the U.S., have never before been shown together. (314) 721-0072, Ext. 204; www.slam.org.

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Art Online

Web Tip of the Month

For acrylic painters who have a website and desire greater exposure, consider submitting your site to Yahoo for listing. When doing this, you must specify the exact location for acrylic painters, which is: Arts:Visual Arts:Painting:Artists:Personal Exhibits:Acrylics. Your site will then be reviewed by Yahoo and, if accepted, it may take three months or so for a listing. However, it's well worth the minimal time and effort since Yahoo is the most popular search engine on the Internet.

Drawing

The Fundamentals of Drawing

Drawing and sketching are among the easiest and most satisfying methods of creating art. And they require only the simplest of materials: something to draw with and something to draw on. From the youngest toddler who scribbles to the most accomplished artist, drawing is instinctive and one of the best, and first, methods of expression and communication.

For most, the best way to get started is by using a pencil and paper. Since these materials are portable, sketching can be performed almost anywhere. With basic materials, a variety of drawing techniques, and unlimited subject matter, drawings of any type and style can be created.

Basic tools to begin with include pencils (#2), pens (felt-tipped, ball-point), a pencil sharpener, eraser, and a sketch pad of paper (preferably a smooth- to medium-toothed texture). As you progress, you might try using colored pencils and pens, charcoal, or pastels to create fuller, more representational images.

There are no absolute rules of drawing and sketching since the act is more a journey than a destination. There are, however, certain time-proven techniques that you can employ to create more effective drawings.

A good way to begin is with a gesture sketch that typically takes less than one minute to draw. This type of sketch focuses on the basic shape and rhythm of an image and not the details. Try moving fast at first and then slow down and draw the next sketch with more detail, again observing the subject's rhythm and tone.

A contour drawing is another good exercise where you draw without looking down at the paper. This forces you to focus on the subject rather than the drawn image. Without lifting the pencil, trace the outline of the subject in as much detail as desired. Doing so will help you capture the visual truth of the image.

Memory drawing is an effective method that helps you further explore subtle details. This is done by taking two to five minutes to visually study your subject and then going to the paper to sketch the detailed impressions as you remember them.

The most basic element of drawing is the line. The quality of line depends upon how the pencil is sharpened, held, and drawn across paper. Heavier lines suggest areas of the drawing that are closer, and lighter lines suggest distance. Straight lines can help emphasize an angled plane in drawings that have depth. Curved lines help accentuate areas that are contoured and rounded.

Shading can be used to help define a three-dimensional appearance in objects such as a box, cylinder, or sphere. Lighting and shade are determined by the light source illuminating the subject. Rounded objects become darker as the edges curve away from the viewer. The shading for these areas can be created by using the flat side of your pencil and gradually darkening the edges as they recede.

To help diffuse shaded areas, try rubbing the pencil lines until the area has a uniform tonal gradient. To suggest highlights within shaded areas, try using your eraser to lift out graphite or charcoal pigment.

At the component level, most objects can be segmented into a series of smaller, overlapping objects. For example, a sleeping cat might be composed of one large oval (its body), a smaller oval (its head), and two triangles (for ears). By first sketching the component parts of an object, a composite can be created that helps define proportion. Afterwards, the details can be added as necessary.

Your pencil can be used as a visual measuring device to help recreate proportion. For example, if you were to sketch a barn in an open field, hold your pencil at arm's length and align the top of the pencil with the top of the barn. Then place your fingers where the foundation of the barn intersects the pencil. (You now have the height). Do the same for the width of the barn, and then compare and transfer the two measurements to your drawing.

Also keep in mind that all objects linearly recede in space to a vanishing point. This is called perspective and it holds true for a landscape as well as a small still life drawing. When drawing, pay close attention to how the major lines in an object recede to this (or multiple) vanishing point(s).

The effect of perspective can also be enhanced by drawing foreground objects (those closest to you) more heavily and clearly focused. Conversely, the further away an object is, the lighter its value becomes and its focus more diffused. All drawings will benefit when these perspective techniques are employed.

To help define the composition of a drawing, start by making a small thumbnail sketch. In this small area (typically 2" square) you can work out some of the perspective elements and quickly see how your composition will appear. If an arrangement of objects seems ineffective, try moving some of them to create more interest. If a landscape composition seems unappealing, try sketching the scene from a different vantage point. Once you are pleased with the thumbnail sketch, you can begin work in earnest.

There are many different ways to depict the world in a drawing, and perhaps the best way to draw things is as you perceive them. For those who want direction, there are many good books available that can guide you through the various drawing techniques. Above all, the most satisfying part is taking the time to see and capture your impressions in this simple, yet fulfilling, act.

Art Marketplace

New Mat Design Book from Alto's - Now available is Creative Mat Design 2, Alto's second book containing 11 creative mat designs that were originally published in their bi-monthly newsletter, Cut-by-Cut. Cutting elegant mat designs has been simplified for you by step-by-step directions, one cut at a time. After seeing that these beautiful designs are not beyond your mat cutting abilities, you'll be inspired to branch out and create your own unique designs. 55pp. See Alto's online at www.altosezmat.com. (Alto's has provided professional quality mat cutting tools since 1974 and is now celebrating their 25th anniversary.)

New Scratchboard Kits from Ampersand - With Creating with Claybord kits, artists will learn step-by-step techniques for rendering beautiful scratchboard drawings through simple, yet elegant, designs. The affordable kits come complete with Claybord Black, scratchknife, and pattern with instructions. Four new designs have been added to the line of birds and florals for a total of eight patterns. See Ampersand online at www.ampersandart.com.

New Projector from Artograph - Do you need to enlarge drawings, sketches, designs, or patterns? Do you wish to create decorative art, murals, posters or signs? Then Artograph's new Tracer, Jr. Art Projector is for you. Ideally suited for the beginning artist or crafter, it enlarges a variety of original opaque designs up to eight times. Copy is easily placed beneath the projector, and the image is projected with a common 75-watt incandescent lamp (included). Attractive, functional and reasonably priced, the Tracer, Jr. comes in tri-lingual, tote-style packaging that is colorful and informative. See Artograph online at www.artograph.com.

New Natural Dye System from Jacquard - Using new technology, Jacquard Products has developed the E-Color Natural Dye System. Unlike previous colors that were inconsistent and difficult to prepare, this is a system of concentrated crystalline extracts of Madder, Cochineal, Osage, Cutch, Natural Indigo and a patented mordant for dyeing, printing and painting with an ease of use unmatched. E-color extracts are highly concentrated powders from natural sources, and the water extraction process is ecologically friendly. Instead of grinding and decocting raw materials, the dye concentrate powders need only to be mixed with water for use. Only one mordant is needed for all the colors; color mixes can be weighed or measured in the powder form; used dye baths can be disposed of safely; and color and depth of shade are far more predictable than with raw natural dye materials.

Included in the new Introductory E-Color Dye Kit for professionals is everything needed to dye approximately ten pounds per color or more. E-Color Dyes are available individually and in bulk sizes, as well.

General Pencil Celebrates - The oldest pencil company in the USA, General Pencil Company, now marks its 110 year anniversary. The first pencil factory in the USA was founded by Edward Weissenborn 134 years ago in February, 1864. The American Lead Pencil Company was later sold, and Weissenborn started what is now General Pencil Company in 1889. Today, the fourth and fifth generations work together to keep General Pencil Company moving forward as a family owned and operated business. They continue to manufacture charcoal, graphite, colored pencils, cosmetic pencils, and more. See them for all your drawing tools. Online at www.generalpencil.com.

Donation = New World-Class Art Center - The donation of a 292,000 sq. ft. former factory building by International Paper Company (parent company of Strathmore) will result in a $20-million contemporary art museum in the Hudson River town of Beacon, NY. The New York-based Dia Center for the Arts will open its sixth alternative exhibition space in 2001 to feature masterpieces by artists such as Richard Serra, Dan Flavin, Donald Judd, and Andy Warhol. The historic factory building, built in 1929, is distinguished by high ceilings, large open spaces, and an extensive system of north-facing skylights; and it will provide nearly twice the gallery space of the Museum of Modern Art.

In the Spotlight: Genesis Artist Colors™

The latest advancement in fine art paint mediums is the revolutionary new Genesis Heat Set Artist Oils. Developed and patented by professionals, these colors, neither oil nor acrylic, offer the look and feel of traditional oils--without the drying time restrictions, toxicity, and odor.

Because of Genesis paint's unique "dry on demand" formulation, artists can control precisely when and where their paint dries by simply applying heat with the Genesis Drying Gun or Genesis Full Canvas Drying Box, which handles canvas up to 24" x 24." (Larger boxes can be custom built upon request.) Drying time is only a few minutes, depending on paint thickness and the surface on which it is being dried.

Certified non-toxic, Genesis Artist Colors™ are available in an array of 78 brilliant, lightfast jar colors. No set-up time or palette preparation is required, and they are ideal for blending as well as for classical glazing techniques. Their buttery texture can be applied using techniques with a brush or palette knife, and they can be thinned for gouache.

Genesis Artist Colors™ offer fine control in mixing, blending and application and can be worked in many states without the addition of mediums. While they can be thinned or cleaned with solvents commonly used with oil paints, these solvents are not necessary. Most artists prefer rubbing alcohol or non-toxic Genesis Thinning Medium. Genesis Artist Colors™ are not water soluble. To alter the flow characteristics, use Genesis Glazing, Thinning and Thick Mediums.

Since Genesis Artist Colors™ stay wet until heated, they will not dry when left in the open on a non-porous surface. It is important to use a glass or other non-porous surface such as china, polished marble or porcelain for your palette. Colors will never dry or get stiff on the brush, palette or in the jar (so there's no waste). You do not have to clean your brushes even if you do not paint for days, weeks or months. When cleaning brushes for quick color changes, simply wipe off excess paint, swirl in rubbing alcohol, wipe and repeat. Brushes may also be cleaned using warm water and mild soap or dishwashing detergent. Dry brushes thoroughly after cleaning.

Also available to choose from are four Genesis Artist Colors™ Systems: The Master, The Professional, The Introductory, and The Basic Palette Systems. The hand-crafted wood studio boxes contain the color palettes of Genesis Artist Colors™. The color palette grid holds pre-mixed colors in ready-to-use jars organized to facilitate the execution of many sophisticated painting techniques. Since the paint does not dry and the Genesis Studio Boxes protect it from dust, the paint jars need not be covered. The color palette is always ready for immediate use with no set-up time required. The Studio Box has been ergonomically designed to allow the artist to work directly from it. In addition to organizing the color palette, the Studio Box has a spacious glass mixing tray and storage areas.

See your dealer for this unique and highly economical fine art paint. Genesis is online at www.genesisartistcolors.com.

Specialty Matting

Faux V-Grooves--Easy Elegance

Photographs, botanical prints, sketches and many styles of artwork on paper can often benefit from some sort of simple, elegant mat decoration. One such surface decoration is the "v-groove." As created by a professional framer or anyone competent in the use of a tabletop mat cutter, a v-groove is actually a "v" shaped channel cut into the surface of the mat. This groove exposes a narrow, even line of mat core color. V-grooves can be very effective when using a matting that has strongly contrasting surface/core colors.

There are several ways to cut a v-groove with a mat cutter, but it is also possible to mimic those mat cutter grooves with a simple hand-cut method. The end result must be very carefully examined by the viewer before any difference in the "faux" and real v-groove can be detected.

The groove will be most appealing if it is placed at least 1/4 inch outside the window opening. For wider mat borders, place the faux v-groove up to one inch outside the window. It is most likely that, until you have a bit of experience with the technique, you will fare better by cutting the faux v-groove before you cut the window.

To establish the exact point where the long and short sides of the v-groove will intersect, make very light pencil marks that cross at the corners--« inch outside the placement of your window. The faux v is created with a stencil knife, making a light cut that starts at a top intersection and ends at a lower intersection. This cut should penetrate only through the colored paper covering of the mat board, not all the way through the mat. Cut all four sides of the faux-v.

When the first set of four cuts has been completed, mark a new set of intersection points at each corner--1/16 to 1/8 inch inside the first cut lines. The purpose is to cut the colored paper so that it can be peeled away in a single narrow strip, thus providing a mimic of an authentic "v" channel cut.

Note: Before you peel the strip, carefully erase any visible pencil lines.

To begin the peeling process, gently lift a corner of the tiny strip you have created between the cut lines. Pick up the colored layer and gently pull the colored strip away from the core of the mat. Smooth any "fuzzies" into place with your fingertip. Once the faux v-groove is completed, finish the mat by cutting the window.

Airbrush

Temporary Tattoos

Spotlight on: Artool Body-of-Art Products

Today, temporary tattoos are more than just a rub-on decal that you find enclosed in a bubblegum wrapper or on the back of a comic book. Modern temporary tattoos are impossible to distinguish from real needle-designed tattoos, but they have the advantage of being removable when desired or they will simply wear off in a few days (not to mention they are painless to apply!).

Two types of temporary tattoos available in the art material market from Artool Body-of-Art Products are Temporary Tattoos, which are transfers applied to the skin with rubbing alcohol and then hand painted; and Airbrush Body Art, which is fantasy artwork applied to the body with an airbrush using stencils and color blending. Both of these methods produce very realistic tattoos that will last three to five days. The 15 vivid paint colors available are non-toxic, the manner of application is safe, and they can be applied easily in a matter of minutes.

When choosing an airbrush for Airbrush Body Art, several things should be considered. What is the airbrush constructed of? Make sure it is a high quality material that will last a long time and not require replacement next year! Secondly, does the airbrush come with a warranty? Be sure the company stands behind its product. And, most importantly, is the airbrush recommended for use with Airbrush Body Art Paint? The paint is alcohol-based and will clog some airbrush brands. Artool recommends using the Iwata Eclipse C with their Body Art Airbrush Paints.

Airbrushed tattoos are developed in the same way that artists and illustrators develop most airbrushed paintings--with a stencil. A variety of very contemporary stencil images (from Flowers and Birds to Kanji Characters and Instant Henna) are available from Artool.

Following are basic instructions for the application of Artool Airbrush Body Art tattoos:

1. Select the Body Art stencil design and colors (often the most difficult part of the process!). Lay these out before you start.

   Consider where the tattoo will be placed and the size of the area to be covered.

2. Cleanse the area of skin that will be painted with 70% (only) isopropyl alcohol to remove any oils that may interfere with paint adhesion.
3. After the skin has dried, apply the stencil to the skin. Since the stencil is self-adhering (with a light medical-grade adhesive), it allows a free hand to use while airbrushing.
4. Using a light color or white basecoat on the skin makes the additional colors appear brighter and more vibrant. Then spray from the lightest color to the darkest. Lightly overlapping the color produces a beautiful color fade.
5. For cleaning the airbrush between color changes, use a good airbrush cleaner. NOTE: Never mix water with alcohol-based paints. Alcohol may be used to wipe down the airbrush and its parts. When finished, all overspray above and below the stencil can be removed from the skin with alcohol.
6. The application of Artool Setting Powder is key to longevity of the tattoo. (This adheres to natural skin oils and prevents the oils from breaking up the tattoo.)

With normal wear, tattoos will remain for three to five days and can be removed at any time with rubbing alcohol or baby oil. You must avoid contact between your tattoo and oils, lotions, shampoo, and conditioner; and remember to periodically reapply the setting powder. Be sure to read instructions for best results.

So have fun! Be daring or discreet with Artool Body-of-Art products! Online at www.arttalk.com/bodyart/bodyart.htm.

ArtPourri

Glass Celebrated--April is International Art Glass Month, and the International Art Glass Suppliers Trade Show will be held June 11-13 at the Long Beach Convention Center, Long Beach, CA.--with Public Day on June 13.

Tradition Broken--The Whitney Biennial scheduled for March 2000 has been totally restructured from a selection standpoint. Breaking with tradition, for the first time, the works will be selected by a committee of six art professionals from outside the Whitney.

New Director Named--The Museum of Contemporary Art in LA has appointed a new director. Jeremy Strick is currently curator of 20C. painting and sculpture at the Art Institute of Chicago.

"No Comment" Department--In Shelton, CT, a school bus stop was changed after a parent complained that his 10-year old daughter was offended by a model of Michelangelo's David in a private office park. The 15 ft. statue is one of 20 works of art throughout the complex that was purchased for the benefit of the workers and the community.-- In compliance with New York City's crackdown on leash law violators, an artist has assured city officials that his life-sized bronze statue to be unveiled soon in Tompkins Square Park called Man and His Dog will include the requisite leash.

Exhibitions

-- "Diego Rivera--Art and Revolution" at the Cleveland Museum of Art through May 2. Tickets: 1 (888) CMA-0033.

-- "New Worlds From Old: 19th Century Australian and American Landscapes" at the Corcoran Gallery of Art, Washington, D.C. through April 19.

-- "Land of the Winged Horsemen-Art in Poland, 1572-1764" at The Walters Art Gallery, Baltimore, MD, through May 9. (410) 547-9000.

April Birthdays:

  2  Max Ernst

  6  Rene Lalique

15  Charles Willson Peale

20  Joan Miro

      Daniel Chester French

23  J.M.W. Turner

25  Cy Twombly

27  Samuel F.B. Morse

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Copyright ARTtalk Vol. 9 No. 6 -- April 1999