Exhibitions | Städel Museum

Exhibition Preview 2026 and Outlook 2027

MONET ON THE NORMANDY COAST: THE DISCOVERY OF ÉTRETAT, BRUEGEL’S FANTASTIC WORLDS, NEW PERSPECTIVES WITH ELMGREEN & DRAGSET, SKIN IN ART ON PAPER, MAJOR EXHIBITION ON MARY MAGDALENE AND 2027 TO THE GARDEN OF PARADISE

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Press release

Monet on the Normandy Coast.The Discovery of Étretat
19 MARCH – 5 JULY 2026
Exhibition Annex
Press Preview: Tuesday, 17 March 2026, 11.00 am

A coast becomes a myth: the cliffs of Étretat, located in Normandy on the Atlantic coast, captivated numerous artists in the 19th century. From 19 March to 5 July 2026, the Städel Museum will present a major exhibition dedicated to the artistic discovery of the former fishing village of Étretat and its influence on modern painting. Around 170 exceptional paintings, drawings, photographs and historical documents on loan from leading French, German and other international museums as well as several private collections will be on display in Frankfurt. Among them are no fewer than twenty-four works by Claude Monet.

Curators: Alexander Eiling (Head of Modern Art, Städel Museum), Eva Mongi-Vollmer (Curator, Städel Museum), Stéphane Paccoud (Chief Curator of 19th-Century Paintings and Sculptures, Musée des Beaux-Arts de Lyon), Isolde Pludermacher (General Curator of Paintings, Musée d’Orsay, Paris)
Project Managers: Eva-Maria Höllerer (Curator, Städel Museum) and Nelly Janotka (Assistant Curator, Städel Museum)

Sponsored by: Fraport AG, Fontana Foundation, Städelscher Museums-Verein e. V.
Marketing and Media Partners: City of Frankfurt am Main – Department of Culture and Science, Alnatura Produktions- und Handels GmbH, Ströer Deutsche Städte Medien GmbH, Frankfurter Allgemeine Zeitung, arte

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PRESS RELEASE

Exhibition Preview 2026 and Outlook 2027

MONET ON THE NORMANDY COAST. THE DISCOVERY OF ÉTRETAT, BRUEGEL’S FANTASTIC WORLDS, NEW PERSPECTIVES WITH ELMGREEN & DRAGSET, SKIN IN ART ON PAPER, MAJOR EXHIBITION ON MARY MAGDALENE AND 2027 TO THE GARDEN OF PARADISE

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PRESS RELEASE

BECKMANN
3 December 2025 to 15 March 2026
Exhibition Hall of the Department of Prints and Drawings
Press Preview: Tuesday, 2 December 2025, 11.00 am

Max Beckmann created his work in a world marked by crises and upheavals, transforming his experiences of this into a visual language that remains fascinating to this day. The most intimate part of his oeuvre are his drawings: like a diary, they document his artistic development, serving as a medium for observation and for creating imagery. The Städel Museum is now putting these works centre stage and presenting some eighty pieces from all phases of his career—from little-known drawings to outstanding major works. They offer a direct and intense insight into the life and work of Max Beckmann (1884–1950), one of the most important artists of the modern era.

The Städel Museum holds one of the most outstanding Beckmann collections in the world and has been dedicated to collecting, researching and communicating his work for more than a century. In 2021, the museum received a remarkable addition to its holdings in the form of important permanent loans from the collection of Karin and Rüdiger Volhard. This, together with the publication of the three-volume catalogue raisonné of Max Beckmann’s black-and-white drawings by Hirmer Verlag—with which Hedda Finke and Stephan von Wiese have closed one of the last major gaps in research on Beckmann’s drawings—is the occasion for this retrospective exhibition.

The exhibition is based on drawings from the Städel Museum’s own collection, complemented by loans from renowned international museums and private collections, including The Museum of Modern Art in New York, the British Museum in London, the Art Institute of Chicago, the Kunstmuseum Basel, the Hamburger Kunsthalle, the Kupferstichkabinett – Staatliche Museen zu Berlin and the Museum der bildenden Künste Leipzig. Selected paintings and prints also provide insights into Beckmann’s working process and the interplay of different media.

Philipp Demandt, Director of the Städel Museum, on the exhibition: “Max Beckmann, the Städel Museum and the city of Frankfurt am Main have been closely linked for over a century. Despite the loss of almost all of the artist’s works in its holdings during the Nazi era, the museum now boasts a Beckmann collection of international standing. With the current exhibition, we are focusing specifically on Beckmann’s drawings for the first time in over forty years. They open up a fascinating cosmos of his work and make his artistic development immediately tangible—not least thanks to the outstanding collaboration with Hedda Finke and Stephan von Wiese, the editors of the three-volume catalogue raisonné of his drawings.”

The curators Regina Freyberger, Head of Prints and Drawings after 1800 at the Städel Museum, Hedda Finke and Stephan von Wiese, authors of the three-volume catalogue raisonné of Beckmann’s drawings, add: “The drawings are a key to Beckmann’s work. Through drawing, he developed his unmistakable visual language, captured what he saw and experienced, shaped his personal worldview and transformed fleeting impressions into multi-layered, meaningful compositions. In the course of his life, he produced more than 1,900 black-and-white drawings in pen, chalk or pencil, not bound in sketchbooks—ranging from quick sketches to autonomous images. The exhibition presents a concentrated and representative selection of these works, which—supplemented by individual colour works, prints and paintings—allow visitors to experience the intensity of Max Beckmann’s drawing.”

Curators: Hedda Finke and Stephan von Wiese (catalogue raisonné of Max Beckmann’s drawings), Regina Freyberger (Head of Prints and Drawings after 1800, Städel Museum)

Sponsored by: Adolf Würth GmbH & Co. KG, Dagmar-Westberg-Stiftung, Städelscher Museums-Verein e. V.
With additional support from: Franz Dieter und Michaela Kaldewei Kulturstiftung, Dr. Ina Petzschke-Lauermann

Media Partners: Frankfurter Rundschau, arte
Cultural Partner: hr2-kultur

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PRESS RELEASE

ASTA GRÖTING. A WOLF, PRIMATES AND A BREATHING CURVE

5 SEPTEMBER 2025 TO 12 APRIL 2026
Collection of Contemporary Art
Press Preview: Friday, 5 September 2025, 9.30 am

Intimate moments and closeness characterize the multifaceted work of the German artist Asta Gröting (b. 1961). Originally and still working as a sculptor, she has expanded her artistic practice to include film and video. She has been one of the most influential figures in contemporary German art since the 1990s. In her work, she renders the invisible visible by focusing on processes that often go unnoticed in everyday life, as well as on interpersonal relationships. From 5 September 2025 to 12 April 2026, the Städel Museum will present a solo exhibition of the artist’s work in its Collection of Contemporary Art, featuring eight works created between 2015 and 2025, including seven video works and one laser projection specially developed for the exhibition. This selection enables visitors to experience the fluid transitions between nature and culture, intimacy and distance, the familiar and the foreign. The videos capture or stage moments from Gröting’s own environment and human existence. Her deliberate manipulation of time lends the works a particular intensity. The films are more than visual representations of our environment: they open up contemplative spaces that encourage reflection on the intricacies of hidden relationships and their dynamics.
Through her work, Gröting shows how art can act as a medium for interpersonal connections by capturing intimate and intense encounters. Her sensitive translation of captivating moments into moving images invites viewers to explore the subtle, often hidden liminal states of existence, and experience the poetry of the moment anew. Highlights of the exhibition include the work Breathing Curve (2025), created especially for the exhibition, and the premiere of her latest video work, Matthias, Helge and Asta (2025), featuring Matthias Brandt, Helge Schneider and Asta Gröting herself as protagonists.

Philipp Demandt, Director of the Städel Museum: “Asta Gröting’s films reveal the visual poetry of our everyday lives through precise observation and give space to the hidden. The Städel has owned the sculptural work We, We, We, You, You, I (1994) by the artist since 2019. With this exhibition, we are deliberately placing an emphasis on the artist’s video art. Gröting’s work represents an artistic practice that addresses social and existential issues in a multilayered way. Her video art explores the boundaries between staging and everyday life by developing traditional narrative forms further. It thus ideally complements the profile of the Collection of Contemporary Art at the Städel Museum.”

“In her work, Asta Gröting focuses on things that often escape our attention, such as subtle gestures of everyday life, empty spaces and the relationships between humans and animals. The works on display are based on precise observations, in which the artist shifts meanings and condenses sensations. Gröting’s intense video works focus on the seemingly invisible, as well as on psychological processes, rendering them tangible for viewers. Her concentrated reflections question our communication, our environment, and our perception. Without providing clear answers, she creates an open space for personal feelings,” adds Svenja Grosser, Head of Contemporary Art at the Städel Museum and curator of the exhibition.

Curator: Svenja Grosser (Head of Contemporary Art, Städel Museum)
Project Manager: Gioia Mattner (Assistant Curator of Contemporary Art, Städel Museum)

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PRESS RELEASE

CARL SCHUCH AND FRANCE

24 SEPTEMBER 2025 – 1 FEBRUARY 2026
Exhibition Annex

Carl Schuch (1846–1903) is one of the most fascinating painters of the 19th century. From 24 September, the Städel Museum will present the major autumn exhibition “Carl Schuch and France”, which will take a comprehensive look at his work, as well as at Impressionist and Realist painting. Schuch has long been an insider tip. He is perhaps the best-known “unknown” protagonist of late 19th-century painting. His art is a discovery. As a restless cosmopolitan, he broke away from national attributions early on and devoted himself uncompromisingly to painting. During his lifetime, he was hardly known to the public, but after his death, the art world quickly recognized the quality of his work, before it later fell into oblivion again.

The Städel Museum is bringing together around seventy of Schuch’s paintings in a stimulating dialogue with some fifty important works by French artists, including Paul Cézanne, Camille Corot, Gustave Courbet, Édouard Manet and Claude Monet. The exhibition focuses on Schuch’s years in Paris, where he experienced his most artistically formative period from 1882 to 1894. Schuch’s painting exudes a quiet yet impressive power. His work is characterized by subtle colour nuances, an extraordinary sensitivity to light and atmosphere, and an intense search for artistic truthfulness. Refusing to be pigeonholed into any particular style, he developed an unmistakable visual language.

This exhibition is more than a tribute. It presents Carl Schuch as an artist who, with his European perspective and unwavering attitude, wrote an independent chapter in art history. Current art technology research deepens our understanding of his working methods and opens up new perspectives on his work. The findings are presented in a clear and comprehensible way in the exhibition. With “Carl Schuch and France”, the Städel Museum invites visitors to embark on a journey of discovery that puts the artistic cosmopolitan and his impressive visual world in the spotlight they deserve.

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Claude Monet
Étretat, the Needle and the Porte d’Aval, 1885
Oil on canvas
65,1 x 81,3 cm
Clark Art Institute, Williamstown, acquired by Sterling und Francine Clark, 1933
Image © The Clark Art Institute

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Claude Monet, Étretat, the Needle and the Porte d’Aval, 1885

Claude Monet
Rough Sea at Étretat, 1883
Oil on canvas
81,4 x 100,4 cm
Musée des Beaux-Arts de Lyon
Foto © Lyon MBA – Photo Martial Couderette

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Claude Monet, Rough Sea at Étretat 1883

Claude Monet
Etretat, The Cliff and the Porte d'Aval, 1885
Oil on canvas
65 x 81 cm
Image © Hasso Plattner Collection

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Claude Monet, Etretat, The Cliff and the Porte d'Aval, 1885

Claude Monet
Étretat. Étretat. The Manneporte, 1885/86
Oil on canvas
81,3 x 65,4 cm
The Metropolitan Museum of Art, New York
Bequest of Lillie P. Bliss, 1931
© bpk | The Metropolitan Museum of Art

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Claude Monet, Étretat. The Manneporte, 1885/86

Eugène Delacroix
Étretat, the Porte d’Aval, ca. 1840 or 1846
Pencil, watercolour and gouache on paper
15 x 20 cm
Musée Marmottan Monet, Paris, legs Michel Monet, 1966. Inv. 5034
© Musée Marmottan Monet

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Eugène Delacroix, Étretat, the Porte d’Aval, ca. 1840 or 1846

Eugène Le Poittevin
Hauling a Boat, Memories of Étretat Beach, 1856
Oil on canvas
70,1 x 116,4 cm
Private Collection
Image © Ader, Paris

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Eugène Le Poittevin, Hauling a Boat, Memories of Étretat Beach, 1856

Alphonse Davanne
N° 12 – Étretat, the Manneporte, ca. 1862
Albumen print from a glass negative, 23.7 x 30.2 cm (print), 44 x 53,5 cm (plate)
Bibliothèque nationale de France, Paris, Département des Estampes et de la Photographie
Image © Bibliothèque nationale de France

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Alphonse Davanne, N° 12 – Étretat, the Manneporte, ca. 1862

Eugène Le Poittevin
Sea Bathing in Étretat, 1866
Oil on canvas
66,5 x 152 cm
Musée des Beaux-Arts et d’Archéologie, Troyes
Image © Carole Bell, Ville de Troyes

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Eugène Le Poittevin, Sea Bathing in Étretat 1866

Claude Monet
The Luncheon, 1868-1869
Oil on canvas
231,5 x 151,5 cm
Städel Museum, Frankfurt am Main, Property of Städelscher Museums-Verein e.V.

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Claude Monet, The Luncheon, 1868-1869

Gustave Courbet
The Wave, 1869
Oil on canvas
65,6 x 92,4 cm
Städel Museum, Frankfurt am Main, Property of Städelscher Museums-Verein e.V.

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Gustave Courbet, The Wave, 1869

Gustave Courbet
Étretat, the Cliff and the Porte d’Aval, ca. 1869-1870
Oil on canvas
66 x 82 cm
Staatliche Museen zu Berlin, Nationalgalerie
© bpk / Nationalgalerie, SMB / Jörg P. Anders

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Gustave Courbet, Étretat, the Cliff and the Porte d’Aval, ca. 1869-1870

Claude Monet
Rough Sea, 1881
Oil on canvas
60 x 73,7 cm
National Gallery of Canada, Ottawa
Image © MBAC

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Claude Monet, Rough Sea, 1881

Gustave Caillebotte
Man in a Smock, known as Old Magloire on the Chemin de Saint-Clair at Étretat, 1884
Oil on canvas
65 x 54 cm
Private Collection
© Bridgeman Images

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Gustave Caillebotte, Man in a Smock, known as Old Magloire on the Chemin de Saint-Clair at Étretat, 1884

Jean Francis Auburtin
The roadstead of Étretat with view of the Chambre des Demoiselles, ca. 1898/99
Gouache on paper
51 x 67,5 cm
Private Collection
Image © Lyon MBA - Photo Alberto Ricci

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Jean Francis Auburtin, The roadstead of Étretat with view of the Chambre des Demoiselles, ca. 1898/99

Félix Vallotton
14 July in Étretat, 1899
Oil on cardboard
47 x 60 cm
Private Collection
Image © Fondation Félix Vallotton, Lausanne

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Félix Vallotton, 14 July in Étretat, 1899

Anonymous
Painter on the Beach at Étretat, ca. 1900
Silver bromide gelatin print from a glass negative, 16.7 x 21.8 cm (copy), 21.2 x 27.4 cm (backing paper)
Collection Pascal Servain, Fécamp
Image © Collection Pascal Servain

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Anonymous, Painter on the Beach at Étretat, ca. 1900

Henri Matisse
Étretat, the Laundresses, 1920
Oil on canvas
54 x 65,4 cm
The Fitzwilliam Museum, Cambridge
Image © The Fitzwilliam Museum, University of Cambridge

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Henri Matisse, Étretat, the Laundresses, 1920

Elger Esser
The Manneporte, 2000
Chromogenic print under framed Diasec, limited edition 7/7
129,3 x 183 cm
Private Collection
Image © VG Bild-Kunst, Bonn 2025

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Elger Esser, The Manneporte 2000

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Exhibition view "Beckmann"
Photo: Städel Museum – Norbert Miguletz

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Exhibition view "Beckmann"

Claude Monet
Etretat, The Cliff and the Porte d'Aval, 1885
Oil on canvas
65 × 81 cm
© Hasso Plattner Collection

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Claude Monet, Etretat, The Cliff and the Porte d'Aval, 1885

Claude Monet
Étretat, the Needle and the Porte d’Aval, 1885
Oil on canvas
65,1 × 81,3 cm
Clark Art Institute, Williamstown, Acquisition of Sterling and Francine Clark, 1933 © The Clark Art Institute

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Claude Monet, Étretat, the Needle and the Porte d’Aval, 1885

Claude Monet
Étretat, the Manneporte, 1885/86
Oil on canvas
81,3 × 65,4 cm
The Metropolitan Museum of Art, New York
© bpk | The Metropolitan Museum of Art

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Claude Monet, Étretat. Die Manneporte, 1885/86

Eugèene Le Poittevin
Sea Bathing in Étretat, 1866
Oil on canvas
66,5 × 152 cm
Musée des Beaux-Arts et d’Archéologie, Troyes
© Carole Bell, Ville de Troyes

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Eugèene Le Poittevin, Sea Bathing in Étretat 1866

Félix Vallotton
The 14 July in Étretat, 1899
Oil on cardboard
47 × 60 cm
Private collection © Fondation Félix Vallotton, Lausanne

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Félix Vallotton, The 14 July in Étretat, 1899

Gustave Courbet
The Wave, 1869
Oil on canvas
65,6 × 92,4 cm
Städel Museum, Frankfurt am Main
Property of Städelscher Museums-Verein e.V.

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Gustave Courbet, The Wave, 1869

The Visitor with Still life with vegetables
Elmgreen & Dragset
The Visitor, 2025
Bronze, lacquer
178 x 61 x 33.5 cm
Cornelis de Heem
Still life with vegetables and fruit in front of a garden balustrade, 1658
Oil on copper
69,8 x 87,1 cm
Städel Museum, Frankfurt am Main
Photo by: Studio Elmgreen & Dragset

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Elmgreen & Dragset, The Visitor, 2025, The Visitor with Still life with vegetables

Elmgreen & Dragset
The Conversation, 2024
Silicone figure, clothing, iPhone, chair
Dimensions variable
Courtesy: the artists
Photo by: Elmar Vestner

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Elmgreen & Dragset, The Conversation, 2024

Elmgreen & Dragset
Garden of Eden, 2022
Wood, aluminum, fabric, monitors, keyboards, mouses, office chairs, miscellaneous
Dimensions variable
Courtesy: Fondazione Prada, Milan
Photos by: Andrea Rossetti

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Elmgreen & Dragset, Garden of Eden, 2022

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Elmgreen & Dragset, Garden of Eden, 2022

Pieter van der Heyden after Pieter Bruegel the Elder
Patience (Patientia), 1557
Engraving
Städel Museum, Frankfurt am Main

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Pieter van der Heyden after Pieter Bruegel the Elder, Patience (Patientia), 1557

Johannes van Doetechum after Pieter Bruegel the Elder
Saint Jerome in the Wilderness, 1555
Etching and engraving
Städel Museum, Frankfurt am Main

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Johannes van Doetechum after Pieter Bruegel the Elder, Saint Jerome in the Wilderness, 1555

Philipp Galle after Pieter Bruegel the Elder
Temperance (Temperantia), ca. 1560
Engraving
Städel Museum, Frankfurt am Main

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Philipp Galle after Pieter Bruegel the Elder. Temperance (Temperantia), ca. 1560

Artemisia Gentileschi
Penitent Mary Magdalene, 1625 – 26
Oil on canvas
108.8 x 93 cm
Kimbell Art Museum, Kahn Building, South Gallery, Fort Worth, Texas

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Artemisia Gentileschi, Penitent Mary Magdalene, 1625 – 26

Girolamo Di Benvenuto
The Bearing of the Cross, The Crucifixion and The Lamentation, 1501 – 1600
Mixed media on poplar wood
57,7 x 111 x 1,4 cm
Städel Museum, Frankfurt am Main

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Girolamo Di Benvenuto, The Bearing of the Cross, The Crucifixion and The Lamentation, 1501 – 1600

Pierre Puvis de Chavannes
Saint Mary Magdalene in the Desert (Madeleine à la Sainte-Baume), 1869
Oil on canvas
156,5 x 105,5 cm
Städel Museum, Frankfurt am Main, property of Städelscher Museums-Verein e.V.

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Pierre Puvis de Chavannes, Saint Mary Magdalene in the Desert (Madeleine à la Sainte-Baume), 1869

Max Beckmann
Christ and the Sinner, 1917
Oil on canvas
149.2 x 126.7 cm
Saint Louis Art Museum
Photo © Bequest of Curt Valentin

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Max Beckmann, Christ and the Sinner, 1917

Saint Mary Magdalene as a Penitent
Southern Germany/Austria? First half of the 17th century
Ivory, partially gilded
Liebieghaus Skulpturensammlung, Frankfurt am Main
Collection of Reiner Winkler

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Saint Mary Magdalene as a Penitent, Southern Germany/Austria? First half of the 17th century

Dora Maar
Mannequin with perm, 1935
Silver Gelatin Print on baryta paper
23,4 x 17,7 cm
Städel Museum, Frankfurt am Main, property of the Städelscher Museums-Vereins e.V.
© VG Bild-Kunst, Bonn 2025

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Dora Maar, Mannequin with perm, 1935

François Gérard
Orpheus tries to hold on to Eurydice, ca. 1791
Pen in black and brown and watercolour, heightened in white, on paper
211 x 155 mm
Städel Museum, Frankfurt am Main

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François Gérard, Orpheus tries to hold on to Eurydice, ca. 1791

Raffael
Caryatid, 1520
Black chalk, washed, on light-coloured primed beige handmade paper
330 x 144 mm
Städel Museum, Frankfurt am Main

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Raffael, Caryatid, 1520

Tizian
Portrait of a Young Man, ca. 1510
Mixed technique on poplar
20 x 17 x 0,4 cm
Städel Museum, Frankfurt am Main

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Tizian, Portrait, Portrait of a Young Man, ca. 1510

Hans Multscher
Holy Trinity, 1450
Alabaster with original partial setting
28,5 x 17,5 x 9,8 cm
Liebieghaus Skulpturensammlung, Frankfurt am Main

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Hans Multscher, Holy Trinity, 1450

Upper Rhenish Master ca. 1410/20
The Little Garden of Paradise, ca. 1410 – 1420
Mixed technique on oak
26,3 x 33,4 cm
Frankfurt am Main, Städel Museum

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Upper Rhenish Master ca. 1410/20, The Little Garden of Paradise, ca. 1410 – 1420

Robert Campin and workshop
Saint Veronica
ca. 1428–1430
Mixed media on oak wood
151.8 x 61 x min. 0.4 cm
Städel Museum, Frankfurt am Main

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Robert Campin and workshop, Saint Veronica, ca. 1428–1430

Follower of Robert Campin
Madonna and Child with Saints in the Enclosed Garden
c. 1440/1460
Oil on panel
122,2 x 151,2 cm
Washington, National Gallery of Art, Samuel H. Kress Collection

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Follower of Robert Campin, Madonna and Child with Saints in the Enclosed Garden, c. 1440/1460

Max Beckmann (1884–1950)
Self-Portrait, 1912
Pencil 235 × 207 mm
Germanisches Nationalmuseum, Nuremberg. Hans Kinkel Collection
Photo: Monika Runge

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Max Beckmann, Self-Portrait, 1912

Max Beckmann (1884–1950)
Evening Street Scene, 1913 (?)
Pen in black and black pastel chalk, washed
252 × 177 mm
Germanisches Nationalmuseum, Nuremberg. Hans Kinkel Collection
Photo: Monika Runge

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Max Beckmann, Evening Street Scene, 1913 (?)

Max Beckmann (1884–1950)
Prof. Ferdinand Sauerbruch, 1915
Pencil
230 × 140 mm
Private collection, Bonn

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Max Beckmann, Prof. Ferdinand Sauerbruch, 1915

Max Beckmann (1884–1950)
Wounded Soldier with Bandaged Head, 1915
Pencil
151 × 120 mm
Museum der bildenden Künste Leipzig, Mathilde Q. Beckmann Bequest

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Max Beckmann, Wounded Soldier with Bandaged Head, 1915

Max Beckmann (1884–1950)
Self-Portrait While Drawing, 1915
Pen in black
314 × 241 mm
Staatsgalerie Stuttgart, Department of Prints, Drawings and Photographs, gift, 1968

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Max Beckmann, Self-Portrait While Drawing, 1915

Max Beckmann (1884–1950)
Rimini, 1927
Black chalk and pastel
500 × 648 mm
Private collection

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Max Beckmann, Rimini, 1927

Max Beckmann (1884–1950)
Flooded City, ca. 1928 (?)
Chalk in black, over pencil
581 × 468 mm
Museum der bildenden Künste Leipzig, Mathilde Q. Beckmann Bequest
Photo Scan: Museum der bildenden Künste Leipzig

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Max Beckmann, Flooded City, ca. 1928 (?)

Max Beckmann (1884–1950)
Quappi with Candle, 1928
Black chalk and white gouache
628 x 488 mm
Kunstmuseum Basel, Kupferstichkabinett
Photo: Kunstmuseum Basel

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Max Beckmann, Quappi with Candle, 1928

Max Beckmann (1884–1950)
The Murder, 1933
Watercolour and brush in black over black chalk
498 × 455 mm
Städel Museum, Frankfurt am Main, on permanent loan from the Karin & Rüdiger Volhard Collection
Photo: Städel Museum, Frankfurt am Main

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Max Beckmann, The Murder, 1933

Max Beckmann (1884–1950)
Faust II, sheet 4
Faust: Our life’s a spectrumsheen of borrowed glory, 1943
Pen in black over pencil
24,6 × 17,4 cm
Federal Republic of Germany and Museum Wiesbaden
On permanent loan to Freies Deutsches Hochstift/ Frankfurter Goethe-Museum

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Max Beckmann, Faust II, sheet 4, Faust: Our life’s a spectrumsheen of borrowed glory, 1943

Max Beckmann (1884–1950)
Tram Stop, 1945
Pen and black ink over pencil on machine-made wove paper
325 × 355 mm
Collection Museum Boijmans Van Beuningen, Rotterdam. Loan Stichting Museum Boijmans Van Beuningen. Purchased with the support of Stichting Bevordering van Volkskracht
Photo: Tom Haartsen

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Max Beckmann, Tram Stop, 1945

Max Beckmann (1884–1950)
Champagne Fantasy (Magnifying Glass), 1945
Pen in black, washed in grey, over pencil
502 × 260 mm
Caroline und Stephen Adler

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Max Beckmann, Champagne Fantasy (Magnifying Glass), 1945

Max Beckmann (1884–1950)
Rodeo, 1949
Pen and black ink over pencil on machine-made wove paper
603 × 435 mm
Caroline und Stephen Adler
Photo: Max Yawney

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Max Beckmann, Rodeo, 1949

Max Beckmann (1884–1950)
Self-portrait with Fish, 1949
Brush in ink over charcoal on drawing cardboard
580 × 452 mm
Hamburger Kunsthalle, Kupferstichkabinett, Photo: © Hamburger Kunsthalle / bpk © VG Bild-Kunst, Bonn
Photo: Christoph Irrgang

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Max Beckmann, Self-portrait with Fish, 1949

Max Beckmann (1884–1950)
Portrait of Georg Swarzenski, 1950
Charcoal, partially rubbed and erased
590 × 450 mm
Städel Museum, Frankfurt am Main
Acquired in 1985 as a gift from Hermann Josef

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Max Beckmann, Portrait of Georg Swarzenski, 1950

Alexander Eiling (Head of Modern Art, Städel Museum), Juliane Betz (Deputy Head of Modern Art, Städel Museum), Neela Struck (Associate Curator, Modern Art, Städel Museum)
Photo: Städel Museum – Norbert Miguletz

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Alexander Eiling, Juliane Betz, Neela Struck