id:			166687
accession number:	2008.4
share license status:	Copyrighted
url:			https://clevelandart.org/art/2008.4
updated:		2020-04-23 09:34:50.066000

Self-Portrait in Bowler Hat, 1921. Max Beckmann (German, 1884-1950). Drypoint; sheet: 41.5 x 33.8 cm (16 5/16 x 13 5/16 in.); platemark: 31.6 x 24.6 cm (12 7/16 x 9 11/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund 2008.4 © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

title:				Self-Portrait in Bowler Hat
title in original language:	
series:				
series in original language:	
creation date:			1921
creation date earliest:		1921
creation date latest:		1921
current location:		
creditline:			Severance and Greta Millikin Purchase Fund
copyright:			© Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

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culture:	Germany, 20th century
technique:	drypoint
department:	Prints
collection:	PR - Drypoint
type:		Print
find spot:	
catalogue raisonne: Hoffmaier 180

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CREATORS

* Max Beckmann (German, 1884-1950)  - artist

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measurements: Sheet: 41.5 x 33.8 cm (16 5/16 x 13 5/16 in.); Platemark: 31.6 x 24.6 cm (12 7/16 x 9 11/16 in.)
state of the work:	Trial proof state III A /IV B
edition of the work: 	

support materials:

	description:	medium weight modern laid paper with watermark
	watermarks:	

inscriptions:

	inscription:	Left margin, in pencil: "Modell Druck"
Center margin, in pencil: "Modell Druck 3"

	translation:	
	remark:		

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CURRENT EXHIBITIONS

	title:		Graphic Discontent: German Expressionism on Paper
	opening date:   2018-01-14T05:00:00
	<i>Graphic Discontent: German Expressionism on Paper</i>. The Cleveland Museum of Art (organizer) (January 14-May 27, 2018).

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LEGACY EXHIBITIONS

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PROVENANCE

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fun fact: 


digital description: 


wall description: 
Max Beckmann made more than 80 self-portraits. In this one, he posed as a well-dressed gentleman who confronts the viewer with an intensely piercing gaze and a serious, melancholy expression. Framed on the left by his cat and cast shadow, on the right by a narrow vase and ashtray, and on the top by a stiff bowler hat, his face and hand project forward from the background. The art historian Paul Schmidt described Beckmann’s spatial concoctions as “supernatural,” where “the picture is governed not by the laws of the optical qualities of real phenomena, but solely by its spiritual relations.” Beckmann’s drypoint technique achieves rich, velvety shadows and strong, blurry lines, as well as angular blocks of lines that unite the different elements of the composition.
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CITATIONS

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