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Title: Max Beckmann and Paris: Matisse Picasso Braque Leger Rouault (Jumbo Series) by Max Beckmann, Cornelia Homburg, Tobia Bezzola, St. Louis Art Museum, Kunsthaus Zurich, Cornelia Hamburg ISBN: 3-8228-7203-2 Publisher: TASCHEN America Llc Pub. Date: January, 1999 Format: Hardcover Volumes: 1 List Price(USD): $39.99

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Summary: Max Beckmann and Paris
Comment: Max Beckmann's status as one of the giants of modernist painting is unquestionable. In light of the persistent development of "Neo-Expressionism", as well as the increasing importance of German art upon the contemporary art scene, his place within the pantheon of 20th century art grown increasingly significant. This reevaluation of Beckmann's oeuvre has been accompanied by a slew of recent museum exhibitions, including a showing of his triptychs at the Guggenheim in 1997, the 2003 retrospective in Paris, London and New York, and the "Max Beckmann and Paris" exhibition (seen in Zurich and St. Louis) for which this book served as the catalog.
The goal of this book (and that of the exhibition it accompanied) is to explore the relationship of Max Beckmann to the artists and critics of the "school of Paris". The authors attempt to reject Beckmann's association with German Expressionism (and with the "provincial" world of German art in general) in a misguided attempt to elevate our opinion of his work by placing it instead within the "greater" context of the Paris-based modernist art as a whole. Comparisons are made between Beckmann's work and that of such contemporaries as Picasso, Braque, Leger, Matisse, and Rouault. The authors draw attention to similarities in theme and subject (the female nude, still life, the circus and theater), and to such formal issues as the handling of color and line. They also explore Beckmann's (often frustrated) attempts at achieving greater recognition by the art critics and public in Paris.
There are a number of interesting connections drawn between the works of Beckmann and that of his Parisian counterparts, especially through comparisons of individual paintings. The relationships revealed between Beckmann and Rouault are especially persuasive, yet this, in itself, argues against the author's goals, as Rouault was something of an outsider in the Paris art world, and more of an "expressionist" himself. Perhaps the strongest aspect of this book is its copious use of side-by-side color reproductions comparing works. Readers familiar with Beckmann, however, may be disappointed with the lack of consideration (or reproductions) of any the artist's most distinctive and/or characteristic works, such as his celebrated self- portraits, triptychs, and historical/mythological paintings.
Beckmann's stature does not need rescuing (in relationship to his French counterparts), because he stands clearly as one of the giants of Western art history. If you are looking for an introduction to Beckmann's art and his achievements, I would suggest you look elsewhere (perhaps the Museum of Modern Art's recent publication "Max Beckmann", or better yet, "Max Beckmann, Retrospective" published by Prestel-Verlag). If, however, you are well acquainted with Beckmann's work, this book offers a number of unique perspectives which might be of interest.