Papel

Guia de Obras de Estudantes

Self-Portrait in Florence

Nome Turma Data

Max Beckmann, Self-Portrait in Florence (1907). Domínio público. Veja esta tela sob uma luz em movimento: o desenho, a cor real sob o verniz, o pigmento puro

Informações principais

Artista
Max Beckmann originaluniqueart.com/pt/artists/max-beckmann_pt/
Datas do artista
1884 – 1950
Pintura
1907
Técnica
Oil On Canvas
Dimensões originais
90 x 98 cm
Movimento
Expressionism Colour and shape deliberately distorted so the picture shows an emotion rather than a likeness.
Período
Modern
Artistic style
Expressionist portrait
Influences
Cézanne, Van Gogh, Blake, Rembrandt, Rubens, Bosch, Bruegel, Grünewald
Notable elements or techniques
Cigarette, window view
Subject or theme
Self-portrait of artist

No contexto

Self-Portrait in Florence — Max Beckmann

Dimensões

As dimensões originais são 90 × 98 cm (altura × largura), representadas aqui ao lado de um adulto de altura média.

Ano de criação

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920
  6. 1930
  7. 1940
  8. 1950

Linha acima: os anos. Linha abaixo: a idade do artista no início e no fim de cada período — 0 ao nascer, 66 ao falecer.

Pintado quando o artista tinha 23. O artista viveu até aos 66. 2 das 81 obras datadas deste artista em nosso catálogo são anteriores.

Sombreado: a trajetória de Max Beckmann (1884–1950) ▲ esta obra, 1907 cada pintura datada, década por década

Primeiras obras: até 1925 Principais anos de atividade: 1925–1944 Obras tardias: a partir de 1944

Essas três faixas dividem as obras que este catálogo data em um primeiro quarto, uma metade central e um último quarto. Elas não representam a produção completa do artista: um período de escassez pode ser uma lacuna no registro, em vez de um intervalo de baixa atividade. Os mesmos anos com a vida do artista traçada neles

Obras comparáveis

Escolha uma obra acima: mencione duas semelhanças entre ela e esta, e uma diferença.

Mais obras para acompanhar esta: originaluniqueart.com/pt/art/similar/max-beckmann-self-portrait-in-florence-8XYK37-en/

Paleta de cores

Medido a partir da imagem

    Cor principal

    Driftwood #9f8663

    Paleta catalogada

    • #9F8663
    • #16151F
    • #C1CCCE
    • #514031

    Estas cores dentro de toda a paleta do artista Encontre outras pinturas por cor

    Paleta
    Earthy A família de cores predominante na imagem.
    Nome da cor principal
    Driftwood
    Intensidade
    Monochromatic O quão saturadas e variadas são as cores, desde um único tom suave até muitos tons vibrantes.
    Contraste
    Statement O grau de variação da luminosidade e saturação das cores ao longo da imagem.
    Harmonia
    Discordant Palette A forma como as cores interagem entre si, desde o contraste marcante até a total harmonia.
    Brilho
    Shadow O nível de luminosidade ou escuridão da imagem como um todo, desde as sombras profundas até os brilhos intensos.
    Saturação
    Subtle Color Quão puras e intensas são as cores, do quase cinza ao totalmente vívido.

    Onde no mundo esta pintura é apreciada?

    • com menos de 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% ou mais
    Esta pintura sozinha possui poucos visitantes registrados para mapear, portanto, a placa apresenta todas as obras de Max Beckmann nos últimos doze meses — 49 países ao todo. De onde vêm estes números

    Os dez principais países

    1. 1 China 25,9%
    2. 2 Estados Unidos da América 9,9%
    3. 3 França 6,9%
    4. 4 Alemanha 5,6%
    5. 5 Espanha 5,6%
    6. 6 Argentina 3,4%
    7. 7 Itália 3,4%
    8. 8 Colômbia 3,0%
    9. 9 Reino Unido 3,0%
    10. 10 Hong Kong 3,0%
    11. · 39 outros países 30,3%

    Encontre os três países mais escuros no mapa. O museu que guarda esta pintura está em algum deles? Escreva um motivo pelo qual pessoas de longe poderiam visitá-la.

    As 20 obras mais visualizadas de Max Beckmann

    1. 1 A Noite, 1919 49,5%
    2. 2 A Ponte de Ferro (Vista de Frankfurt), 1922 10,8%
    3. 3 Cena Dramática da Agonia, 1906 4,3%
    4. 4 Odysseus and Calypso, 1943 1,8%
    5. 5 Self Portrait with a Bucket Hat, 1921 1,8%
    6. 6 Os atores, 1942 1,5%
    7. 7 Rugby players, 1929 1,5%
    8. 8 Bird's hell, 1938 1,5%
    9. 9 Dancing bar in Baden-Baden, Bayerische St, 1923 1,5%
    10. 10 The Old Actress, 1926 1,2%
    11. 11 Columbine, 1950 0,9%
    12. 12 Self-Portrait in Florence, 1907 esta pintura 0,9%
    13. 13 Seascape with poplars, 1924 0,9%
    14. 14 Family Picture, Moma NY, 1920 0,9%
    15. 15 Still Life with Large Green Fruits 0,9%
    16. 16 Temptation, 1937 0,6%
    17. 17 Self-Portrait with Trumpet, 1938 0,6%
    18. 18 The King, 1937 0,6%
    19. 19 Quappi in blue in a boat, 1950 0,6%
    20. 20 Reclining Nude, 1929 0,6%

    Juntas, estas obras representam 82,9% de toda a atenção que as pinturas deste artista receberam nos últimos doze meses. O catálogo contém 221 obras deste artista, das quais 68 foram visualizadas pelo menos uma vez. Esta pintura ocupa a 12 posição entre elas, com 0,9% dessa atenção. Os mesmos números, mês a mês

    As barras medem a atenção, não a qualidade. Escolha a obra no topo e esta aqui: mencione um fator que poderia tornar uma pintura famosa para além da sua técnica de execução.

    Sobre esta obra

    Self-Portrait in Florence — Max Beckmann

    Subject and Composition

    The canvas opens onto a man in a tailored suit, his white shirt crisp beneath a dark coat that drapes with quiet authority. In one hand he cradles a cigarette, the ember’s glow mirroring the faint light that spills through a window behind him. The background is a muted landscape of trees, their silhouettes softened by distance, suggesting an open Florentine courtyard. Beckmann places himself at the center, yet his gaze is not directed toward the viewer; it lingers on the horizon beyond the glass, hinting at introspection and the weight of unseen thoughts.

    Style and Technique

    Beckmann’s brushwork here is vigorous yet controlled, a hallmark of early expressionism that would later evolve into more distorted forms. The oil paint is applied in thick, impasto layers, giving texture to the coat’s folds and the cigarette’s ash. He uses a palette dominated by earthy browns and muted blues, punctuated by the stark white of the shirt and the subtle glow of the ember. The edges are softened with gentle blending, yet the overall composition retains a sense of solidity that anchors the figure against the hazy backdrop.

    Historical Context and Symbolism

    Painted in 1907, this self‑portrait emerges at a pivotal moment when Beckmann was transitioning from academic realism toward a more personal, expressive language. The cigarette—a symbol of modernity and perhaps the artist’s own anxieties—contrasts with the timeless setting of Florence, a city steeped in Renaissance heritage. The window frames a view that could represent both escape and confinement, suggesting the duality of an artist caught between tradition and innovation. In this light, the portrait becomes a dialogue between past and present, personal identity and broader cultural currents.

    Emotional Resonance and Interior Design Appeal

    The painting’s somber palette and contemplative mood invite viewers into a quiet space of reflection. Its size—90 by 98 centimeters—makes it an ideal focal point for living rooms or study areas where one seeks depth without overwhelming the room. The subtle interplay of light and shadow, coupled with Beckmann’s expressive brushwork, creates an atmosphere that feels both intimate and expansive. For collectors and interior designers alike, this work offers a timeless piece that speaks to the human condition while complementing sophisticated décor with its understated elegance.

    Artista e museu

    Artista

    Max Beckmann

    Nascido em Leipzig, Alemanha

    early life and artistic development

    Max Beckmann, a renowned german painter, draftsman, printmaker, sculptor, and writer, was born on february 12, 1884, in leipzig, saxony. his artistic journey began with academically correct depictions, which later transformed into distorted figures and spaces, reflecting his altered vision of humanity after serving as a medical orderly in world war i. The formative years instilled within him a profound sensitivity to human suffering and a rejection of idealized beauty—influences that would permeate his entire oeuvre. Beckmann’s initial artistic training focused on mastering traditional techniques, mirroring the stylistic conventions prevalent at the time. However, this grounding wouldn't prevent him from embarking on an audacious exploration of expressive abstraction.

    artistic style and influences

    Beckmann's distinctive style—characterized by jagged lines, fragmented planes, and muted color palettes—was profoundly shaped by a constellation of artistic precedents. Cézanne’s geometric simplification served as a catalyst for his own compositional innovations, while Van Gogh’s emotive brushwork instilled in him an unwavering commitment to conveying psychological depth. Blake's visionary imagery captivated Beckmann's imagination, prompting him to delve into themes of myth and symbolism. Rembrandt’s masterful use of chiaroscuro—the dramatic interplay of light and shadow—became a cornerstone of his artistic vocabulary. Furthermore, Beckmann drew inspiration from northern european artists of the late middle ages and early renaissance, such as Bosch, Bruegel, and Matthias Grünewald, whose unsettling depictions of human folly and religious fervor resonated deeply with his artistic sensibilities. These influences coalesced into a singular aesthetic vision—one that prioritized emotional resonance over mere visual representation.

    notable works and exhibitions

    Beckmann’s artistic output spanned decades, producing an astonishing array of paintings, prints, sculptures, and literary endeavors. Among his most celebrated creations are The Bark, acquired by the national gallery in berlin, a monumental canvas depicting a desolate landscape imbued with symbolic significance; Self-Portrait in Tuxedo, purchased in 1928, a haunting self-representation that captures Beckmann’s introspective gaze and psychological complexity; and retrospectives held at the Städelschule Mannheim (1928) and Basel & Zurich (1930), which cemented his reputation as one of Germany's foremost Expressionist artists. These exhibitions showcased the breadth and depth of his artistic exploration, demonstrating his mastery of various mediums and techniques.

    later life and exile

    Beckmann’s fortunes took a decisive turn with the ascendancy of Adolf Hitler in germany, resulting in his dismissal from the art school in frankfurt and the confiscation of over 500 of his works—a devastating blow to his artistic career and personal liberty. Forced into self-imposed exile in amsterdam for ten years, Beckmann wrestled tirelessly against bureaucratic obstacles and legal challenges, desperately seeking a visa for the united states—a quest that ultimately proved fruitless. Despite these hardships, Beckmann continued to produce art during his exile, creating evocative landscapes and portraits that reflected the anxieties of his time.

    legacy

    Max Beckmann’s enduring legacy resides in his uncompromising artistic vision—one that confronted existential questions with unflinching honesty and psychological acuity. He was recognized as a teacher at Washington University in St. Louis and the Brooklyn Museum, fostering the development of young artists who would carry forward his expressive idiom. His first retrospective in the united states occurred in 1948 at the city art museum, saint louis—a triumphant return to artistic recognition after years of obscurity. Beckmann’s oeuvre continues to inspire scholars and critics alike, cementing his place as a pivotal figure in german art history and a champion of expressive abstraction. His work remains accessible through AllPaintingsStore.

    Saiba mais

    Disponível online

    QR code que direciona para a página de download de Self-Portrait in Florence

    originaluniqueart.com/pt/art/download/max-beckmann-self-portrait-in-florence-8XYK37-en/

    Como citar esta obra

    MLA
    Beckmann, Max. Self-Portrait in Florence. 1907, https://originaluniqueart.com/pt/art/max-beckmann-self-portrait-in-florence-8XYK37-en/
    APA
    Beckmann, Max (1907). Self-Portrait in Florence [Painting]. https://originaluniqueart.com/pt/art/max-beckmann-self-portrait-in-florence-8XYK37-en/
    Chicago
    Max Beckmann. Self-Portrait in Florence. 1907. https://originaluniqueart.com/pt/art/max-beckmann-self-portrait-in-florence-8XYK37-en/
    Harvard
    Beckmann, Max (1907) Self-Portrait in Florence. Available at: https://originaluniqueart.com/pt/art/max-beckmann-self-portrait-in-florence-8XYK37-en/

    Observe de perto

    Self-Portrait in Florence — Max Beckmann

    Olhar de perto

    Responda com suas próprias palavras. Não existem respostas erradas aqui — apenas respostas que você possa explicar.

    1. O que chama a sua atenção primeiro e por quê?
    2. Quais cores ou formas criam a atmosfera — e que atmosfera é essa?
    3. O nosso catálogo classifica esta obra sob: self-portrait, expressionism, portrait. Concorda? O que acrescentaria ou removeria?
    4. Relembre A Noite (1919), apresentado anteriormente neste guia. Identifique dois elementos que esta obra compartilha com a anterior e um que seja diferente.
    5. Expressionism: Colour and shape deliberately distorted so the picture shows an emotion rather than a likeness. Onde você pode observar isso nesta obra?

    Sua resposta

    Escreva um pequeno parágrafo sobre esta obra de arte. Utilize as informações das etapas anteriores deste guia e as suas respostas acima.

    Perguntas e Respostas

    Como o meio e o movimento se combinam em "Self-Portrait in Florence"?

    "Self-Portrait in Florence" de Max Beckmann combina a técnica de Oil On Canvas com o estilo Expressionism. Técnica e movimento descrevem a execução e o estilo da obra.

    As cores de "Self-Portrait in Florence" parecem intensas ou suaves?

    "Self-Portrait in Florence" de Max Beckmann apresenta uma intensidade de cor Monochromatic.

    Onde se recomenda exibir o formato Portrait de "Self-Portrait in Florence"?

    O formato Portrait de "Self-Portrait in Florence" de Max Beckmann é recomendado para um(a) Hotel Lobby. O formato e o espaço juntos orientam a disposição de uma reprodução.