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The image shows a page from a newsletter of the Busch-Reisinger Museum at Harvard University, dated June 1979. The newsletter focuses on the collection, specifically featuring "The Beckmann Self-Portrait" by Max Beckmann.

Heading:

• BUSCH-REISINGER MUSEUM
• Central and Northern European Art
• Harvard University, 29 Kirkland Street, Cambridge, Massachusetts 02138
• Newsletter, June 1979

Article: Focus on the Collection: The Beckmann Self-Portrait

The article discusses how at the age of fifteen, Max Beckmann applied for admission to the Dresden Art Academy, where he was asked to present a satisfactory replica of a plaster cast. Instead, he chose to present his own composition, showing his independent spirit, which led to his rejection from the academy.

It mentions that the 1927 self-portrait at the Busch-Reisinger Museum, usually on loan to exhibitions in Paris and London, reveals Beckmann's self-assuredness. The description includes details from the portrait: Beckmann is depicted with a steady gaze, a cigarette in hand, dressed in a suit, exuding confidence. His expression suggests a sense of pride and defiance, hinting at his experiences and the socio-political context of the time.

The article notes Beckmann's early rejections, his education, and his development as an artist. It references his involvement with the Sezession group in 1906, his experience in World War I, which deeply affected him, and his return to art with a new attitude towards realism post-war, influenced by the harsh realities of war. The text also mentions his association with the Neue Sachlichkeit (New Objectivity) movement, highlighting his paintings that reflected the disillusionment and despair of the post-war generation.

The article concludes with a quote from Beckmann, emphasizing the necessity of confronting and depicting the suffering and dread of the post-war period. The text suggests that the self-portrait is a testament to Beckmann's resilience and his determination to portray the harsh truths of his time. The article continues on page 4, as indicated at the end.

The image is of a page from a newsletter dated June 1979 from the Busch-Reisinger Museum at Harvard University, located in Cambridge, Massachusetts. The newsletter focuses on the collection of Central and Northern European Art.

The main feature of the page is a discussion on "The Beckmann Self-Portrait." Here's a detailed summary:

Title:

• Focus on the Collection: The Beckmann Self-Portrait

Content:

1. Early Life and Rejection:

   • Max Beckmann, at the age of fifteen, applied for admission to the Dresden Art Academy. He was rejected due to a self-portrait that he considered a temerity, showing independence rather than the expected imitation of a famous work.

2. Self-Portrait Analysis:

   • The older Beckmann's 1927 self-portrait shows a loss of self-confidence. The artist is depicted with a calm and composed demeanor, yet his eyes seem to express a subdued and introspective mood. His body language, with a cigarette dangling from his lips, is described as elegant and relaxed.

3. Beckmann's Career:

   • Born in 1884 in Leipzig, Beckmann was initially rejected from art academies but later traveled to Paris and Florence, where he studied independently.
   • Beckmann joined the German Artists' League and was influenced by the Neue Sachlichkeit (New Objectivity) movement, which focused on depicting the harsh realities of modern life.
   • He participated in exhibitions in Paris and London, showing his works that reflected the turmoil and devastation of World War I.

4. Exhibition Context:

   • Beckmann's works have been part of exhibitions in Paris and London. The article mentions the significance of his presence in the museum's Expressionist collection, which includes works by Kirchner and Heckel.

5. Personal Reflection:

   • Beckmann’s self-portrait reflects his experiences and the impact of World War I on his life, contributing to his profound and introspective art.

6. Additional Note:

   • There is a quote from Beckmann regarding his art and the societal conditions he observed: “The war brought about a new attitude towards painting: the ‘Neue Sachlichkeit’ or return to objectivity, in which artists participated in and depicted contemporary events. Beckmann's art captures the dire reality of the period and the struggles of the people.”

The newsletter page is visually supported by a black-and-white photograph of Max Beckmann, showing him in a formal pose, which complements the text discussing his self-portrait.

The image shows an open book featuring a newsletter from the Busch-Reisinger Museum at Harvard University, dated June 1979. The museum focuses on Central and Northern European Art and is located at 29 Kirkland Street, Cambridge, Massachusetts 02138.

The newsletter section highlighted is titled "Focus on the Collection: The Beckmann Self-Portrait." It discusses Max Beckmann, an artist known for his self-portraits and significant contributions to modern art. The article provides historical context and commentary on Beckmann's 1927 self-portrait:

• Beckmann applied to the Dresden Art Academy at age fifteen and was initially rejected, which he overcame by creating his own work.
• The self-portrait, created in 1927, showcases Beckmann's confidence and maturity despite the challenges he faced.
• The portrait was recently returned from a loan for exhibitions in Paris and London, adding to Beckmann's presence in the museum's Expressionist collection.
• Beckmann's life and career are detailed, including his studies at the Weimar Art Academy, his time in Paris and Florence, and his eventual involvement with the Neue Sachlichkeit ("New Objectivity") movement.
• The article mentions Beckmann's meeting with Wassily Kandinsky and his involvement in the German Artists' League.
• The text also touches on Beckmann's experience during World War I, which influenced his art and led to his departure from the military.

The article highlights Beckmann's resilience and his significant role in the art world, emphasizing his contributions to the Expressionist and Neue Sachlichkeit movements. The text is accompanied by a black-and-white photograph of Beckmann, further illustrating the focus of the newsletter.

The image shows a page from a newsletter dated June 1979, published by the Busch-Reisinger Museum at Harvard University. The museum focuses on Central and Northern European Art and is located at 29 Kirkland Street, Cambridge, Massachusetts 02138.

The newsletter features an article titled "Focus on the Collection: The Beckmann Self-Portrait." The article discusses Max Beckmann, a prominent artist, and his self-portrait from 1927.

Key points of the article include:

• Beckmann's early life and application to the Dresden Art Academy, where he was rejected for his first attempt at a plaster cast of the Venus.
• Beckmann's self-confidence and artistic maturity evident in his 1927 self-portrait, which portrays him with a steady gaze and a firm mouth, suggesting a sense of self-assuredness.
• Beckmann's artistic journey, including his studies at the Weimar Art Academy, his move to Paris and Florence, and his return to Germany where he became associated with the Neue Sachlichkeit (New Objectivity) movement.
• Beckmann’s experiences during World War I, which influenced his art and led to a period of depression and a nervous breakdown.

The article also mentions Beckmann's collaboration with the German Artists' League and his participation in exhibitions in Paris and London. The text is accompanied by a black-and-white photograph of Beckmann.

The page continues on to the next page, as indicated by the "(continued on page 4)" note at the bottom.

The image shows a newsletter from the Busch-Reisinger Museum, dated June 1979. The newsletter focuses on a particular piece from the museum's collection: "The Beckmann Self-Portrait."

Here are the key details from the newsletter:

Header:

• Title: Busch-Reisinger Museum
• Subtitle: Central and Northern European Art
• Affiliation: Harvard University
• Address: 29 Kirkland Street, Cambridge, Massachusetts 02138

Main Article: Focus on the Collection - The Beckmann Self-Portrait

1. Introduction:

   • At the age of seventeen, Max Beckmann applied for admission to the Dresden Art Academy. One of the entrance exam tasks was to draw a plaster cast of the Capitoline Venus. Beckmann chose instead to create a self-portrait, demonstrating his independence and resulting in his rejection by Dresden.

2. The Self-Portrait:

   • The Busch-Reisinger Museum has acquired the 1927 self-portrait by Max Beckmann, which stands out as it reflects none of his earlier self-confidence.
   • The portrait shows Beckmann with a cigarette dangling from his lips, his body slightly hunched, and his hands casually placed in his pockets. His eyes are described as having a steady, film-like gaze, and his mouth does not speak.

3. Background and Career:

   • Born in Leipzig in 1884, Beckmann initially studied at the Weimar art academy and later in Paris and Florence.
   • He was appointed to the governing board of the Sécession in 1908 and became a prominent figure in the German art scene.
   • The trauma of World War I deeply affected him, changing his artistic direction towards a more critical and harsh portrayal of society.

4. Artistic Influence and Later Career:

   • Beckmann's work post-World War I reflected the emotional exhibition of the era and depicted contemporary events.
   • He exhibited with other significant painters like Dix and Grosz, who also portrayed the disillusionment of the time.

The newsletter provides an in-depth look at the significance and background of Max Beckmann's self-portrait and his career as an artist. The article continues on another page, as indicated by "(continued on page 4)."

The image depicts a newsletter from the Busch-Reisinger Museum, which is focused on Central and Northern European Art. The museum is part of Harvard University and located at 29 Kirkland Street, Cambridge, Massachusetts 02138. The newsletter is dated June 1979.

The main article in this newsletter is titled "Focus on the Collection: The Beckmann Self-Portrait." The article discusses a self-portrait by Max Beckmann, created in 1927. The portrait is described as having a haunting presence, with the subject's face being honest and the eyes looking through the viewer. The article mentions that the portrait has been on loan and exhibited in Paris and London.

The article also provides a brief biography of Max Beckmann. Born in Leipzig in 1884, Beckmann studied at the Weimar and Dresden academies and was influenced by various artistic movements. He served in World War I and later became a professor at the Stadel Art School in Frankfurt. Beckmann's work was labeled as "degenerate" by the Nazis, leading to his dismissal. He eventually moved to the United States, where he taught at Washington University in St. Louis and later at the Brooklyn Museum Art School and Mills College.

The article highlights Beckmann's involvement in contemporary events and his shift in artistic attitude post-World War I, focusing on depicting the suffering of people. The text is continued on page 4 of the newsletter.

Accompanying the article is a black-and-white photograph of Max Beckmann, showing him in a suit and tie, standing with his hands clasped in front of him.

The image shows an open spread of a newsletter from the Busch-Reisinger Museum, which is noted for its collection of Central and Northern European Art and is affiliated with Harvard University, located at 29 Kirkland Street, Cambridge, Massachusetts 02138. The date on the newsletter is June 1979.

The left page of the spread features a header with the museum's name and a section titled "Focus on the Collection: The Beckmann Self-Portrait," which discusses an artwork and its significance. The text references the artist's background, the influence of World War I on his work, and a brief history of his career and emotional state during the war. Additional content is mentioned to continue on page 4. The right side of the spread shows part of an article discussing the artist's perspective on war, with the phrase "the war brought about a new attitude towards painting" visible, indicating a possible quote or reflection from the artist.

The newsletter has a minimalist design with a straightforward layout, composed of text blocks and a single image on the right page. The overall appearance is that of an educational and informative publication aimed at providing insights into the museum's collection and featured artists.

The image shows a page from a newsletter of the Busch-Reisinger Museum, which focuses on Central and Northern European Art. The museum is affiliated with Harvard University and is located at 29 Kirkland Street, Cambridge, Massachusetts. The newsletter is dated June 1979.

The main article on the page is titled "Focus on the Collection: The Beckmann Self-Portrait." It discusses the life and work of Max Beckmann, particularly focusing on his self-portrait and his artistic journey, including his rejection from the Dresden Art Academy and subsequent achievements. The article touches on Beckmann's style, his confidence, and his place in the Expressionist movement.

On the right side of the page, there is a black-and-white photograph of a man wearing a suit, presumably Max Beckmann, though his face is obscured in the image provided.

The layout includes a small illustration of a building at the top left, likely representing the museum or Harvard University. The text is set in a clear, readable serif font. The article appears to continue on another page, as indicated by the note at the bottom right.

The image depicts a page from a newsletter titled "BUSCH-REISINGER MUSEUM", which is part of the Central and Northern European Art collection at Harvard University, located at 29 Kirkland Street, Cambridge, Massachusetts 02138. The newsletter is dated June 1979 and is labeled as "Newsletter" at the top right corner.

Key Elements in the Image:

1. Header Information:

   • The museum's name, "BUSCH-REISINGER MUSEUM", is prominently displayed at the top in bold, black text.
   • Below the museum name, the subtitle "Central and Northern European Art" is written in smaller text.
   • The address and affiliation with Harvard University are clearly stated: "Harvard University, 29 Kirkland Street, Cambridge, Massachusetts 02138."
   • The newsletter is labeled as "Newsletter June 1979" at the top right.

2. Illustration:

   • An illustration of a building is positioned above the text. This likely represents the Busch-Reisinger Museum itself, showing a classical architectural style with a tower and a pitched roof.

3. Main Article Title:

   • The main article is titled "Focus on the Collection: The Beckmann Self-Portrait", indicating that the content focuses on a specific artwork in the museum's collection.

4. Text Content:

   • The article discusses Max Beckmann’s self-portrait, providing historical and artistic context. Key points include:
     • Beckmann’s age (fifteen) when he applied for admission to the Dresden Art Academy.
     • His rejection by the academy due to his unconventional style and composition.
     • The significance of the self-portrait as a reflection of Beckmann’s independence and confidence.
     • The portrait’s return from a loan exhibition in Paris and London.
     • Beckmann’s background, including his birth in Leipzig in 1884, his education, and his experiences during World War I.
     • The article also touches on the broader artistic movement of "Neue Sachlichkeit" (New Objectivity) and Beckmann’s role in it.

5. Photograph:

   • To the right of the text, there is a black-and-white photograph of Max Beckmann. He is depicted in formal attire, wearing a suit and tie, with a serious and contemplative expression. The photograph appears to be a formal portrait, likely taken during his later years.

6. Design and Layout:

   • The page has a clean, structured layout with clear headings and subheadings.
   • The text is organized into paragraphs, making it easy to read.
   • The overall design is professional and academic, consistent with a museum newsletter.

Summary:

The image shows a page from the June 1979 newsletter of the Busch-Reisinger Museum at Harvard University. The page features an article titled "Focus on the Collection: The Beckmann Self-Portrait", which discusses Max Beckmann’s self-portrait, his artistic journey, and his significance in the context of early 20th-century art. A formal photograph of Beckmann accompanies the text, enhancing the visual presentation of the article. The layout is clean and professional, reflecting the museum’s academic and cultural focus.

The image is of a newsletter from the Busch-Reisinger Museum at Harvard University, dated June 1979. The newsletter features an article titled "Focus on the Collection: The Beckmann Self-Portrait," which discusses the life and work of the artist Max Beckmann. The article includes a black-and-white photograph of Beckmann's self-portrait, which was painted in 1927 and depicts the artist in a suit and tie, holding a cigarette in his hand. The article provides information about Beckmann's early life, his education at the Dresden Art Academy, and his experiences during World War I, which had a significant impact on his artistic style and subject matter.