This lot is exempt from Sales Tax.
PROPERTY BELONGING TO THE SAINT LOUIS ART MUSEUM, SOLD TO BENEFIT THE ACQUISITIONS FUND [Lots 17-67]
The following fifty lots by Max Beckmann are being deaccessioned by the Saint Louis Art Museum. The museum developed a close connection with the artist when he and his wife moved to St. Louis where he taught at the School of Fine Arts of Washington University in 1947. Beckmann temporarily took the place of Philip Guston while Guston was working on a Guggenheim Fellowship and a Prix de Rome. Beckmann arrived as a celebrated artist and received much attention and adulation from the art community. He was one of the most sought after teachers of painting in post World War II America. While in St. Louis, he became closely connected with the various curators, collectors, dealers and students. He was such a popular teacher, that from the beginning of the school year in 1947 until his death at the end of 1950, he taught painting at five art schools and lectured at a number of other museums and schools in the U.S.
Many of the prints in this sale were donated to the Museum by Curt Valentin and Alan Frumkin. Valentin had organized ten Beckmann exhibitions at his Buchholz Gallery in New York. He was a huge supporter and was persistant in the continual promotion of Beckmann's work in the States. Frumkin, also a champion of German art, can be seen as Valentin's successor in his own galleries in Chicago and New York. Valentin and Frumkin acquired many of these prints from I.B. Neumann, a passionate connoisseur and dealer who met Beckmann in 1912 and later introduced Beckmann's work to America.
*These lots may be exempt from Sales Tax, as set forth in the Sales Tax Notice at the front of the catalogue. [Lots 17-67]
Post Lot Text
Beckmann's earliest graphic works are stylistically very close to German Impressionism and can fairly be seen as a part of this movement - the soft lines of the lithographic crayon, the contrasts of light and dark. Works in this style, produced between 1909-1912, comprise not only the first three important series with literary (religous) models, but also examples which demonstrate the artist's preference for the life of simple and lowly folk and socially under-priveleged, themes which prefigure the later prints of the large series.