German artist Max Beckmann (1884-1950) was born on this day in 1884. Beckmann's style of figurative art blends the spiritual and profane through a unique painterly lens and makes allegorical commentary on contemporary life. It had a profound impact on Kriesberg's own art making.
Kriesberg paid tribute to Beckmann in his own personalized manner through two paintings made in the 1990s. Both paintings Departure (1994) and Departure (1995) reference the center panel of Beckmann's Departure (1932-35).
Departure (1994) is reminiscent of Kriesberg’s 1970’s geometric figures that are enclosed within an abstracted landscape. The triangular shape of the white owl, great ape, and red devil, resemble the elongated ‘walker’ structures that Kriesberg developed after spending time studying Buddhism. It is less true to Beckmann’s original painting. For example, there is no boat, the figures take up most of the picture plane, the ocean is more gestural and indicative of movement, and the horizon line is curvilinear. The canvas has a more abstract quality overall.
Irving Kriesberg, Departure, 1995, oil and pastel on canvas, 44 x 30 in. (111.8 x 76.2 cm). Collection of the Estate of Irving Kriesberg.
Kriesberg’s 1995 iteration of Departure is the more narrative of the two Kriesberg versions, and is more in line with the Figurative Expressionist mode of painting that Beckmann is noted for. However, there are many unique differences in Kriesberg’s version, such as a brighter palette and the use of animals as stand-ins for humans. Kriesberg commented on the differences between German and American Expressionism, explaining that the earlier German Expressionists painted descriptive and concrete imagery, however imbued the subject was with emotion or full of metaphor. Exoticism was never at odds with depictive reality. The American Figurative Expressionists were more involved with fantasy, the subconscious, automatism, and spiritual intent (paraphrased from an interview with Adam Zucker, Fall of 2008).