Max Beckman

When the name Max Beckman is spoken aloud some label such as expressionism, verism, or new objectivity usually follows. There is a questionable desire to classify Beckman’s work in a way that alludes to that particular speaker’s “creative” interpretations.  This is deplorable, Beckman himself would agree, his art is at the service of “self” and as such it is less appropriate for a simple categorization.

This particular work Night was created in 1922, the medium I am not certain.  When considered as a drawing there are several interesting things going on which can shed light on Beckman’s interests.   Allusions to structure define this household’s psychology in an interesting way. Having the left and bottom figures break the picture plane, framing the image more dynamically than the actual wooden structure of their environment creates drama and content.  This gives a certain presence to the figures as larger than life. Their scale when juxtaposed against the crouched figure in the background who is much smaller also contributes to their importance.  This is a beautiful example of compositional experimentation and how it can be used to create dynamic and engaging narratives.  Within the composition form is modeled in a very specific way adding an interesting tone which seems appropriate to what is literally depicted.  It is a heavy handed, directly applied network of line that communicates superficially the relative textures and figuration while at the same time, depth of emotional disposition.  This is no easy task.  After managing this, Beckman creates several symbols within the picture that add specificity to the psychological effects of the formal decisions.  A solitary lamp or a skewed window with a view not of distance and nature, but clutter and confinement creates the imposing dread of potentially six similar situations to the one present. This really starts to describe these characters and their lives.  The girl in the foreground is bending her arm backwards just to fit in the space provided her, this can be read into for content or taken as relative to her living conditions.  Actually, you can begin to identify Beckman as the figure in the background who is being imposed upon by everything which has reduced him in scale and posture.

Work like this is complicated.  Beckman is not an artist that is generally accesible to people.  He portrays the ugliness of life, the pychological reality of it.  It is thick stuff to sort through and this is only one aspect of a much broader body of work.  For all of Beckman’s expressive capabilities you can see why people want to place him in certain movements.  This however, only cheapens the experience.  Look at Beckman’s work for the man, and as a concerned artist of the early 20th century look at him for a reflection of the times.