Max Beckmann
Sommer
1930
oil on canvas
37,4 x 28,5 cm
München Bayerische Staatsgemäldesammlungen
One of my first loves was Max Beckmann. On Sundays, my parents took us to the Van Abbemuseum, a short walking distance from where we lived. That is where I saw Beckmann’s 'Winterlandschaft' (Winterbild, Winter Landscape): an open window, the glass partly frosted or fogged, with a view on a snow-covered black tree.
(on our way home we would climb John Rädecker’s horse statues placed at the entrance of the museum)
I am also fond of Beckmann’s painting 'Sommer'. It is quite small, about 40 x 30 cm. It depicts two lovers in a shed, in the countryside, on a summer day. I love the intimacy and the black darkness of the shed, with the couple partly covered under a red blanket. They are surrounded by the yellow ochre warmth of the hill and the coolness of the green fields and the water. The zigzagging lines make the scene dynamic. The open shed is in contrast to the closeness between the couple. As if they are saying: Look at us! The painting exudes tenderness and longing, perhaps also despair. It may be the end of summer. It may be the last rendez-vous.
The website of the Hamburger Kunsthalle has a catalogue raisonné of Beckmann’s paintings, including a list of alternative titles for each of his works. Titles are an essential part of my work. Sometimes they become small poems. Sommer, Liebespaar (Sommertag), Summer (Lovers), Sommertag mit Liebespaar, Kleine Gebirgslandschaft.
Jacqueline Peeters, 2022
Jacqueline Peeters
left:
Nightstand
2022
oil on canvas
190 x 120 cm
right:
Made bed
2022
oil on canvas, and two sheets of paper
110 x 200 cm
Jacqueline Peeters
Edna Offenbach to Lee Le Gac
2019
oil on canvas
160 x 200 cm
Jacqueline Peeters (NL/BE)
Liebespaar
2021
oil on canvas
150 x 200 cm
floor:
Worn or stained, gashes gray
2021
oil on canvas
130 x 240 cm
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