Self-Portrait with Champagne Glass, Max Beckmann
Max Beckmann
Self-Portrait with Champagne Glass
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Max Beckmann

Self-Portrait with Champagne Glass, 1919


Dimensions
65.0 x 55.5 cm
Physical Description
Oil on canvas
Inventory Number
2535
Acquisition
Acquired in 2020 with funds from the Federal Republic of Germany's Commissioner for Culture and the Media and support from the Cultural Foundation of the German Federal States as well as private donors. Joint property with the Städelscher Museums-Verein e.V. and the Ernst von Siemens Kunststiftung.
Status
On display, 1st upper level, Modern Art, room 9

Texts

About the Work

In his numerous self-portraits, Beckmann repeatedly slipped into other roles. Here, he depicts himself as an elegant dandy in a dinner jacket at a nightclub bar, probably the one at the Frankfurter Hof. His poorly-looking frame fits only barely, rather twisted into the narrow image space. In the background, a grotesque figure is laughing, with its grimace reflecting like a threatening echo on the left. As a level-headed bourgeois and detached observer, Beckmann holds up a mirror to the society of the interwar period, a time that was marked by enormous upheavals.

Audio & Video

  • Highlights of the Städel Collection
    02:03
  • Focus on art history
    02:06
  • Städels Beckmann / Beckmanns Städel. Die Jahre in Frankfurt
    Max Beckmann (1884–1950) ist wie kaum ein anderer Künstler mit dem Städel Museum und Frankfurt verbunden. Er verbrachte die längste und wichtigste Zeit seines Lebens in Frankfurt, schuf hier einen Großteil seiner zentralen Werke und entwickelte den für ihn charakteristischen Stil. Das Städel Museum befasst sich seit fast einem Jahrhundert intensiv mit dem Sammeln und der Erforschung seines Œuvres. In dem Film zur Ausstellung „Städels Beckmann / Beckmanns Städel. Die Jahre in Frankfurt“ gehen die Kuratoren der Frage nach wie sich die Sammlung Beckmanns am Städel entwickelte und wie er in Frankfurt zu seinem charakteristischen Stil fand. Mehr Infos zur Ausstellung "Städels Beckmann / Beckmanns Städel. Die Jahre in Frankfurt": https://www.staedelmuseum.de/de/ausstellungen/staedels-beckmann-beckmanns-staedel

Work Data

Basic Information

Title
Self-Portrait with Champagne Glass
Painter
Production Place
Period Produced
School
Object Type
Physical Description
Oil on canvas
Material
Technique
Label at the Time of Manufacture
Signiert und datiert oben links: Beckmann / Frankfurt a/M / Sept. 19.
Work Catalogues
  • Göpel 2021, Nr. 203

Property and Acquisition

Institution
Departement
Collection
Creditline
Städel Museum, Frankfurt am Main, gemeinsames Eigentum mit dem Städelschen Museums-Verein e.V., der Ernst von Siemens Kunststiftung und der Bundesrepublik Deutschland
Picture Copyright
Public Domain
Acquisition
Acquired in 2020 with funds from the Federal Republic of Germany's Commissioner for Culture and the Media and support from the Cultural Foundation of the German Federal States as well as private donors. Joint property with the Städelscher Museums-Verein e.V. and the Ernst von Siemens Kunststiftung.

Work Content

Motifs and References

Genre
Main Motif
Persons Shown
Associated Persons and Institutions

Iconclass

Primary
Secondary

Podcasts

Research and Discussion

Provenance

Object History
Max Beckmann (1884-1950), Frankfurt am Main
Hermann Lange (1874-1942), Krefeld/Berlin, vor 1928
Dauerleihgabe aus Privatbesitz, Städel Museum, Frankfurt am Main, seit 2011
erworben mit Unterstützung der Kulturstiftung der Länder sowie privater Spenden, 2020 (gemeinsames Eigentum mit der Ernst von Siemens Kunststiftung, der Bundesrepublik Deutschland und dem Städelschen Museums-Verein).

Information

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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Conservation and Restoration

Art-technology findings and/or documentation regarding conservation and restoration are available for this work. If interested, please contact .

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Last update

10.04.2024