Homeguard Soldier Ernst Pflanz, Max Beckmann
Max Beckmann
Homeguard Soldier Ernst Pflanz
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Related external works


Max Beckmann: Wandbild in Wervik, 1915, Leimfarbe auf Ziegelstein, 300 x 430 cm. zerstört

Max Beckmann

Homeguard Soldier Ernst Pflanz, 1915

365 x 253 mm
Physical Description
Pencil, partially erased, on calendared wove paper
Inventory Number
SG 615
Object Number
SG 615 Z
Acquired in 1918 from the artist
Can be presented in the study room of the Graphische Sammlung (special opening hours)


About the Work

During World War I, Beckmann’s style changed decisively. He now strove for a reduced mode of expression, objective but nevertheless vibrant. Drawing helped him limit himself to the essentials. Beckmann’s gradually transforming approach is evident in his portrait of a soldier: the motif fills the pictorial space; the lines are harder and more angular than in his previous drawing style. Round and pointed forms merge, and the individual stroke remains prominent even in the hatched zones.

Work Data

Basic Information

Homeguard Soldier Ernst Pflanz
Production Place
Period Produced
Object Type
Physical Description
Pencil, partially erased, on calendared wove paper
Geographic Reference
Production Reason
Label at the Time of Manufacture
Signiert, datiert und bezeichnet oben rechts (mit Bleistift): Beckmann / Verwik 16.4. / 15; bezeichnet verso rechts: Landsturmmann Ernst Pflanz, Berlin N / Feldstr. 12.
Captions Added Later
Verso unten links Stempel der Städtischen Galerie, Frankfurt am Main (Lugt 2371c), mit zugehöriger Inventarnummer
  • Nicht vorhanden
Work Catalogues
  • Wiese 1978.203.261

Property and Acquisition

Städel Museum, Frankfurt am Main
Picture Copyright
Public Domain
Acquired in 1918 from the artist

Work Content

Motifs and References



  • 31D14(+4) adult man (+ three-quarter view)
  • 45B the soldier; the soldier's life
  • 61B2(+522) historical persons (+ three-quarter view portrait)

Research and Discussion


Object History
Max Beckmann (1884-1950), Frankfurt am Main
verkauft an die Städtische Galerie, Frankfurt am Main, 1918.


Since 2001, the Städel Museum has systematically been researching the provenance of all objects that were acquired during the National Socialist period, or that changed owners or could have changed owners during those years. The basis for this research is the “Washington Declaration”, also known as the “Washington Conference Principles”, formulated at the 1998 “Conference on Holocaust-Era Assets” and the subsequent “Joint Declaration”.

The provenance information is based on the sources researched at the time they were published digitally. However, this information can change at any time when new sources are discovered. Provenance research is therefore a continuous process and one that is updated at regular intervals.

Ideally, the provenance information documents an object’s origins from the time it was created until the date when it found its way into the collection. It contains the following details, provided they are known:

  • the type of acquisition and/or the way the object changed hands
  • the owner's name and place of residence
  • the date on which it changed hands

The successive ownership records are separated from each other by a semicolon.

Gaps in the record of a provenance are indicated by the placeholder “…”. Unsupported information is listed in square brackets.

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