Not a trace of charm or grace. Instead of moving on the stage in serpentine poses, Beckmann's figure is doing the splits as she pauses on the floor. Her head is lowered, her left hand in an imploring gesture. The artist set himself the particular challenge of working in three dimensions in a total of eight sculptures. Created in the 1930s, 'Female Dancer' negates the topos of the dance as such. Whereas Beckmann strove for the greatest possible spatiality in his painting, he reduced this sculpture, in which the body scarcely rises into the vertical, to a remarkable two-dimensionality.