id:			167678
accession number:	2009.355
share license status:	Copyrighted
url:			https://clevelandart.org/art/2009.355
updated:		2020-11-04 22:05:54.134000

Hell: The Street , 1919. Max Beckmann (German, 1884-1950). Lithograph; sheet: 83.2 x 65.2 cm (32 3/4 x 25 11/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund 2009.355 © Artists Rights Society (ARS), New York

title:				Hell: The Street 
title in original language:	
series:				
series in original language:	
creation date:			1919
creation date earliest:		1919
creation date latest:		1919
current location:		
creditline:			Norman O. Stone and Ella A. Stone Memorial Fund
copyright:			© Artists Rights Society (ARS), New York

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culture:	Germany, 20th century
technique:	lithograph
department:	Prints
collection:	PR - Lithograph
type:		Print
find spot:	
catalogue raisonne: 

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CREATORS

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

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measurements: Sheet: 83.2 x 65.2 cm (32 3/4 x 25 11/16 in.)
state of the work:	
edition of the work: 	

support materials:

	description:	imitation Japan paper
	watermarks:	

inscriptions:

	inscription:	In pencil, lower left: "45/75 Die Strasse" 
lower right: "Beckmann"

	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: 
After World War I, Max Beckmann produced a portfolio of lithographs under the title <em>Die Holle</em> (<em>Hell</em>). Its publication coincided with civil unrest including heavy street fighting during the so-called November Riots of 1918 that followed Germany’s defeat. Here, the caricatured faces and cropped, overpacked, and stage-like composition portray the ideologues, the war-maimed, the famished, and the deranged. One of Beckmann’s contemporaries, the art historian Paul Schmidt, wrote that it signaled the artist’s new role as a prophet. This aligned with Beckmann’s self-stated aim to expose the “ghastly cry of the poor disillusioned people.”
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