Self-Portrait with a Stylus, 1916
Drypoint; 11 5/8 x 9 1/4 in. (29.5 x 23.5 cm)
Drypoint; 11 5/8 x 9 1/4 in. (29.5 x 23.5 cm)
Metropolitan Museum of Art
Christ and the Woman Taken in Adultery, 1917
Oil on canvas. 58 3/4 x 49 7/8 in.
St Louis Art Museum.
St Louis Art Museum.
The Night, 1918-19
Oil on canvas. 133 x 154 cm
Oil on canvas. 133 x 154 cm
Kunstsammlung Nordrhein-Westfalen. Dusseldorf.
The Last Ones (plate 10) from Hell, 1919
One from a portfolio of eleven lithographs, composition (irreg.): 26 3/8 x 18 3/4" (67 x 47.6 cm);
sheet: 34 3/16 x 24 1/8" (86.8 x 61.2 cm).
One from a portfolio of eleven lithographs, composition (irreg.): 26 3/8 x 18 3/4" (67 x 47.6 cm);
sheet: 34 3/16 x 24 1/8" (86.8 x 61.2 cm).
Family Picture, Frankfurt 1920.
Oil on canvas, 25 5/8 x 39 3/4" (65.1 x 100.9 cm).
Black Irises, 1928
Oil on canvas. 29 1/2 x 161/2 in.
Collection R. N. Ketterer, Campione. Switzerland.
Paris Society (Gesellschaft Paris), 1931.
Oil on canvas, 43 x 69 1/8 inches (109.2 x 175.6 cm).
Solomon R. Guggenheim Museum, New York
Departure. 1932–33
Oil on canvas; triptych, center panel, 215.3 x 115.2 cm; side panels each, 215.3 x 99.7 cm
The Museum of Modern Art, New York.
Varieté (Quappi), 1934-1937.
Oil on canvas. 139,5 x 59,5 cm.
Oil on canvas; triptych, center panel, 215.3 x 115.2 cm; side panels each, 215.3 x 99.7 cm
The Museum of Modern Art, New York.
Oil on canvas. 139,5 x 59,5 cm.
The Metropolitan Museum of Art. New York.
Self-portrait with Horn. 1938
Oil on canvas. 110 x 101 cm
Neue Galerie, New York
Oil on canvas. 110 x 101 cm
Neue Galerie, New York
Still Life with Three Skulls, 1945
Oil on canvas, 55.2 x 89.5 cm (21 3/4 x 35 1/4 in.)
Museum of Fine Arts, Boston
Falling Man, 1950
Oil on canvas, 141 x 88.9 cm
National Gallery of Art, Washington
National Gallery of Art, Washington
German painter, draughtsman, printmaker and teacher.
From early youth, he was drawn to Gothic painting, one of several revelations from a 1903 trip to Paris, where he saw the exhibition of the French Primitives. He was also influenced by El Greco and painted a number of canvases inspired by religion or mythology. The many horrors that he experienced during the war marked a turning point for his work. Death and the hellishness of large cities then became his favorite subjects. During the 1930s, he was committed to the New Objectivity, but his Realism could not be separated from philosophical concerns and Symbolism. In 1933, he lost his professorship at the academy in Frankfurt, and in 1937 emigrated to the Netherlands, where he remained for ten years. He then lived in the United States, and throughout his American period he protested irrationality and the evils of modern society, exalting the individual and the spiritual life.
From early youth, he was drawn to Gothic painting, one of several revelations from a 1903 trip to Paris, where he saw the exhibition of the French Primitives. He was also influenced by El Greco and painted a number of canvases inspired by religion or mythology. The many horrors that he experienced during the war marked a turning point for his work. Death and the hellishness of large cities then became his favorite subjects. During the 1930s, he was committed to the New Objectivity, but his Realism could not be separated from philosophical concerns and Symbolism. In 1933, he lost his professorship at the academy in Frankfurt, and in 1937 emigrated to the Netherlands, where he remained for ten years. He then lived in the United States, and throughout his American period he protested irrationality and the evils of modern society, exalting the individual and the spiritual life.
