Jutta Schütt, ed., Beckmann & America (Ostfildern, Germany: Hatje Cantz; Frankfurt am Main: Städel Museum, 2011).
","citation":"Jutta Schütt, ed., Beckmann & America (Ostfildern, Germany: Hatje Cantz; Frankfurt am Main: Städel Museum, 2011).
, p. 202; p. 203 (illus.); cat. no. 86","date":2011,"id":1386,"uri":"https://search.worldcat.org/title/758709994"}],"nowebuse":"False","periods":[],"department":"Modern and Contemporary Art","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"},{"id":2199324,"term":"Art Since 1945","termtype":"Collecting Area"},{"id":2199325,"term":"North American Art","termtype":"Collecting Area"}],"daterange":"A.D. 1945-present","dateend":1950,"depicted":[],"titles":[{"title":"The Bowery","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":null,"objectnumber":"y1966-213","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"\n\tOne of the foremost artists of the Weimar Republic (1918–1933), Beckmann fled Germany in 1937 after the Nazi regime classified him as a “degenerate” artist and removed hundreds of his works from German museums. He lived in self-imposed exile, first in Amsterdam and then, after 1947, in the United States, where he taught in Saint Louis and Brooklyn.\n
\n\n\tThe Bowery is one of Beckmann’s final works. It reflects his ongoing fascination with urban life and particularly with the Bowery, a densely populated\n\t\n\tdistrict in lower Manhattan that he frequently explored and described in his diary as a place of “sorrow and misery.” The tightly compressed composition lends the scene an air of claustrophobia, suggesting the crowded streets of New York. Emphatic black outlines and blocks of bold color reminiscent of a stained-glass window delineate the exaggerated features of a woman and the leering men surrounding her.\n
","remarks":"EUR-STR_02-05_WLA-Day 1 Cataloguing "},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"[Catherine Viviano Gallery, New York, New York]. Stanley J. Seeger Jr, gift; to Princeton University Art Museum, 1966.","remarks":null},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nAssociated with German Expressionism, Max Beckmann was one of the foremost artists of the Weimar Republic, but his unflinching depictions of society and his commitment to modernism provoked Nazi ideologues, who confiscated many of his works. Subsequently, Beckmann spent the years after 1937 living in exile. In 1947, he moved to the United States. The Bowery is one of the artist’s last works, painted the year he died, and it reflects his ongoing fascination with the seedy underbelly of urban life, particularly in that eponymous New York neighborhood. Here, emphatic black outlines and blocks of bold color, reminiscent of a stained-glass window, delineate the face of a woman, possibly a prostitute. She is surrounded by a group of leering men whose grotesque features complement her own. The tightly compressed composition lends the painting an air of claustrophobia, suggesting capture or, alternately, the crowded streets of New York. ","remarks":null}],"datebegin":1950,"sortnumber":"1966 213y","published_date":"2026-03-31 02:23:22.000150","objectid":30322,"dimensions":"60.5 x 30 cm (23 13/16 x 11 13/16 in.)\r\nframe: 74.7 × 44.5 × 3 cm (29 7/16 × 17 1/2 × 1 3/16 in.)","on_view":true}