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Abstract
Max Beckmann sceglieva spesso il formato a figura intera per i suoi ritratti, che erano a grandezza naturale. Di solito si trattava di autoritratti, spesso con la moglie Quappi, o di ritratti di famosi mercanti d'arte, collezionisti e direttori di musei che promuovevano la sua arte. Solo uno di essi, stranamente uno dei più grandi di questa serie è rimasto anonimo fino ad oggi: Das Bildnis eines Teppichhändlers, il ritratto di un commerciante di tappeti, perché secondo le informazioni della moglie di Beckmann, Mathilde Quappi Beckmann, il ritratto era assente. Con questo articolo cerchiamo di identificarlo.
Translation of abstract (English)
Max Beckmann often chose the full-figure format for his portraits, which were life-size. In each of these cases it delt of paintings by himself, also with his wife Quappi, or of famous art dealers, collectors and museum directors who promoted his art. Only one of them, strangely enough one of the largest in this series has remained anonymous until today: Das Bildnis eines Teppichhändlers, the portrait of a carpet dealer, because according to information from Beckmann's wife Mathilde Quappi Beckmann, the sitter was absent. With this article we try to identify him.
Document type: | Article |
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Date: | 2020 |
Version: | Primary publication |
Date Deposited: | 05 May 2020 14:37 |
Faculties / Institutes: | Research Project, Working Group > Individuals |
DDC-classification: | Painting |
Controlled Keywords: | Beckmann, Max / Selbstbildnis mit Horn, Beckmann, Max / Bildnis eines Teppichhändlers |
Subject (classification): | Artists, Architects Iconography Painting |
Countries/Regions: | Benelux Germany, Switzerland, Austria |
Additional Information: | Zugang zum Artikel in deutscher Sprache siehe Link "Verwandte URLs". |
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