Departure (Beckmann)

Departure
Artist	Max Beckmann
Year	1932-1935
Medium	Oil on canvas
Dimensions	215.5 (each one) cm × 115 (middle), 99,5 (sides) cm (?? × ??)
Location	Museum of Modern Art, New York

Departure is an oil on canvas triptych by German artist Max Beckmann. The three panels work was started in Frankfurt in 1932 and completed in Berlin, from 1933 to 1935. This was the first of nine triptychs that the artist created. The panels, according to Beckmann, are named The Castle (left), The Homecoming (middle) and The Staircase (right). The paintings have all the same height (215.5 cm) and the middle panel, with 115 cm, is only slightly larger than the other two, which have 99.5 cm in length.^[1] It is one of his best known triptychs and is held at the Museum of Modern Art, in New York.^[2]

History and description[]

The triptych was started at the final years of the Weimar Republic and finished in the first years after the takeover of Nazism. The political background of the time seems to have influenced this work. The significance of the scenes depicted is enigmatic. Both the side panels show images of a sadistic violence. At the left, possibly a torture chamber, a woman is tied down, upon a crystal ball. To her left, a strange still life is seen. A man with an axe is shown to her right, in a stripped shirt, possibly an executioner. A man whose upper arms are tied to one of the three pillars at the background had his hands severed and his mouth gaged, while his closed eyes show signs of deep pain. At his right, a woman is seen from behind, with her hands tied. At the right panel, a woman is tied to an upside down man. She has a drummer at her front and a creepy belhop at her rear.^[3]

The central panel, by the opposite, showing a scene in a blue sky and in a blue sea, seems to represent a chance of hope and salvation from this violence, depicting the departure of a king, most likely the Fisher King, with his back turned, who grasps a net of fish, while giving a blessing. At his left, an enigmatic hooded man holds a fish. The queen, at the background, holds is son, while faces the viewer. Beckmann described this scene stating: "The King and Queen have freed themselves... The Queen carries the greatest treasure - Freedom - as her child in her lap. Freedom is the one thing that matters - it is the departure, the new start."^[4]

Despite the political background of the time, Beckmann denied that this was a political work: “Departure bears no tendentious meaning - it could well be applied to all times.”^[5][6]

References[]