In 1947 Max Beckman finally reached the USA. But a year later he went back to Europe to wrap up unfinished business and collect his pictures. One last trip to conclude a lifetime struggle...

In those days, voyages between the Old and the New World were made by ocean liners. All of Beckmann's dreams and anxieties about escaping Europe are summed up in this painting of a ship's interior.

Through several portholes, we get a glimpse of human life. Hope and sorrow, love and lust for life keep us going. However, the central scene depicts a seaman's grave. Beckmann suggests that - in the end - we are no more than food for the fish.

Fate cannot be foretold. Some say that luck is an angel. For the majority, it is sexual attraction that keeps us going. Is there more? A woman, painting a big ship, keeps a wonderful dream alive. The dream of reaching another shore, another life...

Tags:   'Ship Cabins' (1948) painting Max Beckmann exhibition 'The universe of Max Beckmann' Kunstmuseum The Hague Netherlands Nikon D7200 hndrk Explored #246

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To the Max Beckmann exhibition in The Hague

Tags:   father and son visitor exhibition Max Beckmann 'The universe of Max Beckmann' Kunstmuseum The Hague Netherlands Nikon D7200 hndrk

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Painted by Max Beckmann in 1946

The war was over, a babyboom exploded
Now those babies are looking back
.
.

Tags:   visitor wheelchair 'Mother with playing child' painting (1946) Max Beckmann exhibition 'The universe of Max Beckmann' Kunstmuseum The Hague Netherlands Nikon D7200 hndrk

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Working on a human sculpture
Embracing a black human form

Tags:   'Self-portrait with grey dressing gown' painting (1941) Max Beckmann exhibition 'The universe of Max Beckmann' Kunstmuseum The Hague Netherlands Nikon D7200 hndrk

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Max Beckmann painted 'Woman with Parrot' in 1940.

The model stretches herself in full view, like a French odalisque, as an object of desire. She is surrounded by signs of luxury: fresh fruit, flowers, red wine and a controversial book by the French writer Stendhal...

'De l'amour' (On love) describes an impossible, unanswered love. In pleading for a less conventional form of love Stendhal was ahead of his times.

The painter Max Beckmann, who was devoted to his beautiful 'Quappi', did not - in vain - long for a particular mistress like Stendhal. He mourned his love for UNCENSORED PAINTING, from Delacroix to Matise and Picasso.

In 1940 Hitler had darkened the artistic sky. Beckmann had fled and lived in exile.

Tags:   'Large lying woman with parrot' painting (1940) Max Beckmann exhibition 'The universe of Max Beckmann' Kunstmuseum The Hague Netherlands Nikon D7200 hndrk

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