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Max Liebermann

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Liebermann, Max 

Born July 20, 1847, in Berlin; died there Feb. 8, 1935. German painter and graphic artist.

Liebermann studied in Berlin from 1866 to 1868 and in Weimar from 1868 to 1872. He lived in Paris (1873–78), Munich (1878–84), and later Berlin. Liebermann was the founder of the Berlin Secession (1898–99). In 1897 he was made a professor at the Academy of Arts in Berlin (president, 1920; honorary president, 1932). He was persecuted by the fascists.

Influenced by G. Courbet, J. Israels, and M. Munkácsy, Liebermann continued in the tradition of German realism. In his early paintings he sympathetically and warmly depicted busy factory women, peasants, artisans, and fishermen. Directness of observation, careful depiction of light and air, and purity and richness of colors are combined with precise rendering of line and three-dimensional form (Women Plucking Geese, 1872; The Flax Spinners 1887—both in the National Gallery in Berlin). Beginning in the 1890’s, under the influence of impressionism, Liebermann often painted landscapes, concentrating a great deal of attention on light, movement, and overall painterly effects (Game of Polo in Jena Park, 1902–03, Kunsthalle, Hamburg). Liebermann is known for his advocacy of the realist art of the past.

WORKS

Gesammelte Schriften. Berlin, 1922.

REFERENCE

Scheffler, K. Max Liebermann. Wiesbaden, 1953.


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95 Paperback N6888 This catalog is published in conjunction with a 2005-2006 exhibition originating at the Skirball Cultural Center, Los Angeles--the first major exhibition in the US devoted to German painter Max Liebermann (1847-1935), who has been virtually unknown to the American public although his reputation is strong in the international art world.
In late 1999 the Foundation of the Grisons Art Collection in Chur unconditionally returned an 1876 work by German artist Max Liebermann to the sole heir of its former owner, Max Silberberg.
This is not to discount the abundant evidence of Beckmann's deep Northern roots; it's plain that he owed an enormous debt to the most progressive German painters of the generation preceding his, Max Liebermann and Lovis Corinth, who offered a model of expressive realism in place of the idealized romanticism of "official" nineteenth-century German art.
 
 
 
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