Editing Max Beckmann (section)

==Legacy==
{{See also|Boston Expressionism|American Figurative Expressionism}}[[File:Max Beckmann, 1918-19, The Night (Die Nacht), oil on canvas, 133 x 154 cm, Kunstsammlung Nordrhein-Westfalen, Düsseldorf.jpg|thumb|''[[The Night (painting)|The Night (Die Nacht)]]'', 1918–1919, oil on canvas, 133 × 154 cm, [[Kunstsammlung Nordrhein-Westfalen]], Düsseldorf|left]]
Many of Beckmann's late paintings are displayed in American museums. He exerted a profound influence on such American painters as [[Philip Guston]] and [[Nathan Oliveira]],<ref>Schulz-Hoffmann and Weiss 1984, pp. 161–162.</ref> and, indeed, on [[Boston Expressionism]], the art movement that later expanded nationally and is now called [[American Figurative Expressionism]]. His posthumous reputation perhaps suffered from his very individual artistic path; like [[Oskar Kokoschka]], he defies the convenient categorization that provides themes for critics, art historians and curators. Other than a major retrospective at New York's [[Museum of Modern Art]], the [[Boston Museum of Fine Arts]] and the [[Art Institute of Chicago]] in 1964–65 (with an excellent catalogue by [[Peter Selz]]), and MoMA's prominent display of the triptych [[Departure (Beckmann)|''Departure'']], his work was little seen in much of the United States for decades. His 1984 centenary was marked in the New York area only by a modest exhibit at [[Nassau County, New York|Nassau County]]'s suburban art museum. The [[Saint Louis Art Museum]] holds the largest public collection of Beckmann paintings in the world and held a major exhibition of his work in 1998.

Since the late 20th century, Beckmann's work has gained an increasing international reputation. There have been retrospectives and exhibitions at the [[Museum of Modern Art]] (1995) and the [[Solomon R. Guggenheim Museum|Guggenheim Museum]] (1996) in New York, and the principal museums of Rome (1996), Valencia (1996), Madrid (1997), Zurich (1998), Munich (2000), Frankfurt (2006) and Amsterdam (2007). In Spain and Italy, Beckmann's work has been accessible to a wider public for the first time. A large-scale Beckmann retrospective was exhibited at the [[Centre Pompidou]] in Paris (2002)<ref>{{cite web |url=http://www.centrepompidou.fr/Pompidou/Accueil.nsf/mSearchSimpleResults?ReadForm&Query=beckmann&L=2 |title=Centre Pompidou – Art culture musée expositions cinémas conférences débats spectacles concerts |publisher=Centrepompidou.fr |date=2000-09-14 |access-date=2012-06-22 |archive-date=2012-03-19 |archive-url=https://web.archive.org/web/20120319014314/http://www.centrepompidou.fr/Pompidou/Accueil.nsf/mSearchSimpleResults?ReadForm&Query=beckmann&L=2 |url-status=dead }}</ref> and [[Tate Modern]] in London (2003).<ref>[http://www.tate.org.uk/modern/exhibitions/beckmann/] {{webarchive|url=https://web.archive.org/web/20070829212931/http://www.tate.org.uk/modern/exhibitions/beckmann/|date=August 29, 2007}}</ref> In 2011, the [[Städel]] in Frankfurt devoted an entire room to the artist in its newly fitted permanent exhibition of modern art.<ref>Catherine Hickley (December 9, 2011), [https://www.bloomberg.com/news/2011-12-09/vampires-ghosts-haunted-max-beckmann-during-u-s-exile-catherine-hickley.html Review: "Vampires, Ghosts Haunted Max Beckmann During U.S. Exile"], ''[[Bloomberg L.P.|Bloomberg]]''.</ref>

A Max Beckmann Gesellschaft was first established by [[Wilhelm Hausenstein]], {{ill|Benno Reifenberg|de}} and others.<ref>{{cite news |last1=Breidecker |first1=Volker |title=Fluchtpunkt Paris |url=https://www.sueddeutsche.de/kultur/frankfurt-und-frankreich-fluchtpunkt-paris-1.3661961 |access-date=22 August 2021 |work=Süddeutsche Zeitung |language=de|date=12 September 2017}}</ref> The Max Beckmann Archiv was established in 1977 and is under the auspices of the [[Bavarian State Painting Collections]].<ref>{{cite web |title=Max Beckmann Archiv |url=https://www.pinakothek.de/forschung/max-beckmann-archiv# |website=Die Pinokotheken |language=de|access-date=22 August 2021}}</ref><ref>{{cite web |title=Max Beckmann Archiv |url=https://kunstareal.de/en/buildings-and-institutions/cultural-institutions/max-beckmann-archiv |publisher=Kunstareal München |language=de|access-date=22 August 2021}}</ref>

In 1996, Piper, Beckmann's German publisher, released the third and last volume of the artist's letters, whose wit and vision rank him among the strongest writers of the German tongue. His essays, plays and, above all, his diaries are also unique historical documents. A selection of Beckmann's writings was issued in the United States by University of Chicago Press in 1996.<ref>[http://www.press.uchicago.edu/cgi-bin/hfs.cgi/00/13174.ctl] {{webarchive|url=https://web.archive.org/web/20050211143227/http://www.press.uchicago.edu/cgi-bin/hfs.cgi/00/13174.ctl|date=February 11, 2005}}</ref>

In 2003, [[Stephan Reimertz]], Parisian novelist and art historian, published a [[biography]] of Max Beckmann. It presents many photos and sources for the first time. The biography reveals Beckmann's contemplations of writers and philosophers such as [[Fyodor Dostoyevsky|Dostoyevsky]], [[Arthur Schopenhauer|Schopenhauer]], [[Friedrich Nietzsche|Nietzsche]], and [[Richard Wagner]]. The book has not yet been translated into English.

In 2015, the [[Saint Louis Art Museum]] published ''Max Beckmann at the Saint Louis Art Museum: The Paintings'', by Lynette Roth. It is a comprehensive look at the Beckmann paintings at SLAM, the largest collection of them in the world, and places both artist and works in a broader context.