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©
Max Beckmann, VEGAP, Madrid
Max Beckmann

Self-Portrait with Raised Hand

1908
Oil on canvas.
55 x 45 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
465
(
1985.16
)
ROOM 45
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room

The extensive gallery of self-portraits left by the German painter Max Beckmann allows us to trace the abrupt changes in his agitated life and his vast oeuvre. The present Self-Portrait with Raised Hand, one of his earliest, which he painted in summer 1908 in Hermsdorf, the district of northern Berlin where his studio was located, provides a powerful image of the artist at the age of twenty-four. Its unfinished look, with some parts of the canvas exposed, accentuates the loose, impastoed technique that links him to German Impressionist painters like Max Liebermann, Lovis Corinth and Max Slevogt.

Although full-or three-quarter-length self-portraits are predominant in Beckmann’s output, the present work shows the artist slightly more than shoulder length in a fully frontal pose that allows him to stare at the viewer with his challenging gaze, while raising his left hand. Peter Vergo relates this expressive gesture to other Expressionist portraits of the period, particularly those of Egon Schiele, although Beckmann’s portrait is much more restrained. Some authors associate the position of the hand with the gesture of holding a paintbrush; however, the artist may have intended to show himself smoking a cigarette, as in his Self-Portrait in Florence painted the previous year or in the many later self-portraits in which he haughtily surveys his surroundings and expresses his irony about the tedium of modern life. Vergo also suggests the possible influence of Byzantine icons showing Christ the Saviour in a very hieratic pose raising his hand to give blessings. The identification of the artist with Christ, in the tradition of Dürer’s self-portraits, is fairly relevant to the case of Beckmann, an artist with an epic and heroic view of painting who used self-portraiture to show himself to the world as a hero of Homeric proportions.

The work was given its current title by its first owner, Reinhard Piper, who acquired it directly from the artist before 1914. Piper, one of the most important German avant-garde publishers, who was closely linked to the Expressionist circles of the Der Blaue Reiter group, for whom he published the Almanac of 1912 and Kandinsky’s essay Über das Geistige in der Kunst (Concerning the Spiritual in Art), mentioned in his autobiography, “I acquired one of Beckmann’s earliest paintings; the Self-Portrait with Raised Hand, which is not entirely finished.” The work was purchased by the Los Angeles collector of German Expressionist art Robert Gore Rifkind in 1974 and passed to Baron Thyssen-Bornemisza in 1985.

Paloma Alarcó

20th Century20th Century - European painting. ExpressionismPaintingOilcanvas
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Self-Portrait with Raised Hand. Autorretrato con la mano levantada, 1908
Self-Portrait with Raised Hand
Max Beckmann

©

Max Beckmann, VEGAP, Madrid

Terms of Use

The exploitation rights of the images correspond to the Fundacion Coleccion Thyssen-Bornemisza, F.S.P. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes and non-commercial uses.

However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the images set out below by the Foundation, it will be necessary to obtain a license from VEGAP (www.vegap.es), or from the corresponding collective management organization in the country where the work is going to be used or, where appropriate, from the holder of their rights in order to reproduce or exploit the work.

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Self-Portrait with Raised Hand. Autorretrato con la mano levantada, 1908
Self-Portrait with Raised Hand
Max Beckmann

©

Max Beckmann, VEGAP, Madrid

Terms of Use

The Photo Library of the Museo Nacional Thyssen-Bornemisza offers sale and rental service of photographic material of all the works on its Permanent Collection.

To request images or permits for commercial use in academic or research publications, that is, catalogues of other institutions, monographs and other specialized publications, you should contact the Museum's Photo Library by email at the e-mail @email.

To request images or permits for other commercial or advertising uses (general publications, merchandising, exhibitions, audio-visual works, web pages, etc.), you should contact the Museum's Commercial Archive by email at the e-mail @email.

The Photo Library and the Museum's Commercial Archive manage the worldwide distribution of images of the Museo Thyssen-Bornemisza works, as well as their reproduction rights. The applicable rates are calculated based on the nature and proposed use of the images, as well as the availability of the requested image.

Requests for scans or new photographs will be reviewed on a case-by-case basis. Once approved, an additional fee will apply. Re-photographing a work will require a minimum of six weeks to complete.

However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the photographs set out below by the Foundation, it will be necessary to obtain a license from  VEGAP (Visual Entidad de Gestión de Artistas Plásticos www.vegap.es) or from the corresponding collective management organizations in the country where the work is going to be used or, where appropriate, from the holder of their rights in order to reproduce or exploit the work.

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