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Max Beckmann

Leipzig 1884 – 1950 New York

”Selbstbildnis gelb-rosa”. 1943

Oil on canvas. 94,5 × 56 cm. (37 ¼ × 22 in.) Signed, inscribed and dated lower right: Beckmann A[msterdam] 43. On the middle bar of the stretcher labels of Curt Valentin Gallery, New York, and the exhibition Paris 1968 (see below). Catalogue raisonné: Göpel/Tiedemann 645 (online catalogue raisonné, query date 16.10.2022).  [3431] Framed 

ProvenanceMathilde Quappi Beckmann (gift of the artist) / Beckmann Family / Private Collection, Switzerland

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„Selbstbildnis gelb-rosa“

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ExhibitionPortraits (1925–1950) by Max Beckmann. New York, Catherine Viviano Gallery, and Cambridge, Massachusetts, Institute for Technology, 1957, cat. no. 1, ill. / Max Beckmann. Das Portrait. Gemälde, Aquarelle, Zeichnungen. Karlsruhe, Badischer Kunstverein, 1963, cat. no. VIII, ill. / Max Beckmann. Paris, Musée National d'Art Moderne; Munich, Haus der Kunst, and Brüssel, Palais des Beaux-Arts, 1968/69, cat. no. 81, ill. / Max Beckmann. Selbstbildnisse. Hamburg, Kunsthalle, and Munich, Staatsgalerie moderner Kunst, 1993, cat. no. 23, ill. / George Grosz. Berlin – New York. Berlin, Neue Nationalgalerie, and Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 1994/95, cat. no. I.33, ill. p. 72 / Musen, Maler und Modelle. Kampen, Galerie Pels-Leusden, 1996, cat. no. 3, p. 50, ill. p. 51

Literature and IllustrationBenno Reifenberg und Wilhelm Hausenstein: Max Beckmann. Munich, R. Piper & Co. Verlag, 1949, cat. no. 527 / Edith Hoffmann: Expressionism: not a German but an international style. In: Art News, November 1957, vol. 56, p. 40–43, 56–58, here p. 57, ill. p. 40 / Eliot Clark: New York Commentary. In: The Studio, vol. 155, 1958, p. 60, ill. / Peter Beckmann (ed.): Max Beckmann. Sichtbares und Unsichtbares. Stuttgart, Belser, 1965, ill. 31, p. 83 / Friedhelm Wilhelm Fischer: Max Beckmann. Symbol und Weltbild. Munich, Wilhelm Fink Verlag, 1972, ill.1 / Friedhelm Wilhelm Fischer: Der Maler Max Beckmann. Cologne, DuMont Schauberg, 1972, p. 70 / Erhard and Barbara Göpel: Katalog der Gemälde. 2 vols. Bern, Kornfeld und Cie, 1976, here vol. I, cat. no. 645, and vol. II, ill. pl. 232 / Hildegard Zenser: Max Beckmanns Selbstbildnisse. Munich, Schirmer Mosel, 1984, ill. 49 / Erhard Göpel (ed.): Max Beckmann. Tagebücher 1940–1950. Munich, Piper, 1984, p. 64, 66, 67, 73, 74 / Fritz Erpel: Max Beckmann. Leben im Werk. Die Selbstbildnisse. Munich, C.H. Beck, 1985, p. 362, no. 183, ill. 196 / Hans Belting: Identität im Zweifel. Ansichten der deutschen Kunst. Cologne, DuMont, 1999, p. 165–167, ill. p. 166 / Stephan Reimertz: Max Beckmann. Munich, Luchterhand, 2003, p. 358–360 / Hans Belting: Max Beckmann, peintre allemand. In: exh. cat.: Beckmann. Paris, Centre Pompidou, Galerie 1; London, Tate Modern, and New York, MoMA, 2003, p. 61-69, here p. 67 and ill. p. 68 (not exhibited) / Christian Lenz: „Schön und schrecklich wie das Leben.“ Die Kunst Max Beckmanns 1937 bis 1947. In: exh. cat.: Max Beckmann. Exil in Amsterdam. Amsterdam, Van Gogh Museum, and Munich, Pinakothek der Moderne, 2007/08, p. 33-105, here p. 82, ill. 39, and p. 83 (not exhibited)

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