IX MAX LIEBERMANN AND SOME PHASES OF MODERN GERMAN ART Chapter 1

The importance of Max Liebermann in any critical consideration of modern German art is prime. Meister Max, no longer as active as he was, for he was born in 1847, is still a name to conjure¹ with not only in Berlin, his birthplace and present home, but in all Germany, and, for that matter, the wide world. He is intensely national. He is a Hebrew, and proud of his origin. He is also cosmopolitan². In a word, he is versatile³.

Some years ago, through the enthusiasm and enterprise of the late Hugo Reisinger and several other art lovers, New York had an opportunity of enjoying a peep at German paintings in the Metropolitan⁴ Museum. It was rather a disappointing exhibition, principally because the men shown were not represented at their best. Lenbach was not, nor Boecklin, nor a dozen others, though Menzel was. That is, we admired one of Menzel's least characteristic efforts [Pg 174] but his most brilliant of canvases, the stage of the Théatre Gymnase, Paris. Never before nor since that pictorial⁵ performance did the wonderful Kobold of German art attain⁶ such mellowness⁷. Just as he had been under the influence of Courbet when he painted his big iron forge picture—which, with the French theatre subject, hangs in the National Gallery, Berlin—so he felt in the latter the impact of the new Impressionistic school with its devotion to pure colour, air, and rhythm. Max Liebermann was best seen in his Flax Spinners of Laren, an early work, Dutch in spirit and execution, and not without traces of the influence of his friend Josef Israels. But of the real Liebermann, his scope, originality⁸, versatility⁹, America, I think, has not yet had an adequate idea.

Versatility is commonly regarded as an indication of superficiality. How, asks Mr. Worldly Wiseman, can that fellow Admirable Crichton do so many things so well when it takes all my time to do one thing badly? Therefore he must be regarded suspiciously. Now, there are no short cuts in the domain¹⁰ of the arts; Gradus ad Parnassum is always steep. But, given by nature a certain kind of temperament¹¹ in which curiosity is doubled by mental energy, and you may achieve versatility. Versatility is often mainly an affair of energy, of prolonged industry. The majority of artists do one thing well, and for the remainder of their career repeat [Pg 175] themselves. When Flaubert wrote Madame Bovary his admirers demanded a replica¹² and were disappointed with Salammb?, with Sentimental¹³ Education, above all, with The Temptation of St. Anthony and Bouvard and Pécuchet. Being a creative genius, Flaubert taught himself to be versatile. Only through self-discipline, did he achieve his scheme, beside which the writing of the Human Comedy cannot be compared. There is more thought-stuff packed in his five masterpieces, apart from the supreme¹⁴ art, than in whole libraries: quality triumphing over quantity.

Greatly endowed by nature, by reason of his racial origin, and because of his liberal education, Liebermann was bound to become a versatile artist. That doesn't mean he is a perfectionist in many things, that he etches as well as he paints, that he composes as well as he draws. As a matter of fact he is not as accomplished¹⁵ a master of the medium as is Anders Zorn; many a smaller man, artistically¹⁶ speaking, handles the needle with more deftness¹⁷ than Liebermann. But as a general impression counts as much as technique, your little etcher is soon forgotten when you are confronted with such plates as the self-portraits, the various beer-gardens, the houses on the dunes¹⁸ (with a hint of the Rembrandt magic), or the bathing boys. His skill in black and white is best seen when he holds a pencil, charcoal¹⁹, or pen in his hand. The lightness, swiftness, elasticity²⁰ of his line, [Pg 176] the precise effect attained²¹ and the clarity of the design prove the master at his best and unhampered by the slower technical processes of etching or lithography.

I studied Liebermann's work from Amsterdam to Vienna, and out of the variety of styles set forth²² I endeavoured to disentangle several leading characteristics. The son of a well-known Berlin family, his father a comfortably situated²³ manufacturer, the young Max was brought up in an atmosphere of culture and family affection. His love for art was so pronounced that his father, like the father of Mendelssohn, let him follow his bent²⁴, and at fourteen he was placed under the tutelage of Steffeck, an old-timer, whose pictures nowadays seem a relic²⁵ from some nightmare of art. Steffeck had studied under Schadow, another of the prehistoric²⁶ Dinosaurs²⁷ of Germany, and boasted of it. He once told Liebermann that Adolf Menzel only made caricatures, not portraits. You rub your eyes and wonder. Liebermann has said that this rigid²⁸ training did him good. But he soon forgot it in actual practice. Some good angel must have protected him, for he came under the influence of Munkaczy and, luckily for him, escaped the evil paint of that overrated mediocrity. But perhaps the Hungarian helped him to build a bridge between the antique formula of Steffeck and the modern French—that is, the Impressionists. Max had to burn many bridges behind him before he [Pg 177] formed a style of his own. Individuality is not always born, it is sometimes made, despite what the copy-books assure us to the contrary. The wit and irony²⁹ of the man and painter come both from Berlin and from his Jewish ancestry³⁰. He looks like a benevolent³¹ Mephistopheles, and is kindness personified to young artists.

Subjecting himself to the influence of Courbet, Millet³², Rousseau, Corot, Troyon, he went to Holland, and there fell captive to the genius of Rembrandt. The mystic in Liebermann is less pronounced than one might expect. His clear picture of the visible world holds few secret, haunted spots. I do not altogether believe in his biblical subjects, in the Samson and Delilah, in the youthful Christ and the Doctors of the Law—the latter is of more interest than the former—they strike one as academic exercises. Nevertheless, the lion's paw of Rembrandt left its impress upon his art. The profounder note which the French painters sometimes miss is not missing in Liebermann. He has avoided both the pomp and rhetoric³³ of the academic school and the sentimentality of the latter-day Germans. Liebermann is never sentimental, though pity for the suffering of life is easily detected in his canvases, particularly in his Old Men's Home, The Orphans³⁴, The Widower³⁵, and a dozen masterpieces of the sort.

In Frans Hals Liebermann found a congenial spirit and made many copies of his pictures to train his hand and eye. His portraits reveal the broad brush work of Hals. They are also psychological documents. Associated with Josef Israels, he was in sympathy with him, but never as sentimental as the Dutchman. Both reverenced³⁶ Rembrandt and interpreted him, each after his own temperament. When Liebermann first knew Manet, Monet, Pissarro, Renoir, and Degas (particularly Degas) he had experimented in every key. Master of his materials, master of himself, a cultured man of the world and a sincere artist, the French group showed him the way to liberty, to a deliverance from the ruddy tones of Munich, from the dulness of Düsseldorf, from the bitter angularities of German draughtsmanship and its na?veté which is supposed to stand for innocence³⁷ of spirit—really the reverse, a complete poverty of spirit—and with it all the romantic mythology³⁸ of German art, the bloated fighting fauns, leering satyrs, frogmen, fishwomen, monkeys, and fairies, imps³⁹, dryads, and nymphs. Liebermann discovered the glories of light, of spacing, of pure colour, and comprehended the various combinations by which tonalities could be dissociated and synthesised anew. He went back to Germany a painter of the first rank and an ardent⁴⁰ colourist, and he must have felt lonely there—there were no others like him. Menzel was a master draughtsman, Leibl an admirable delineator of character, and to name these three is to name all. Henceforward, Liebermann's life task was to correlate his cosmopolitan art with German [Pg 179] spirit, and he has nobly succeeded. To-day he is still the commanding figure in German art. No one can compete with him in maestria, in range, or as a colourist. And at last I have reached the goal of my discourse⁴¹.

1 conjure   

v.恳求，祈求；变魔术，变戏法

参考例句：

• I conjure you not to betray me.我恳求你不要背弃我。
• I can't simply conjure up the money out of thin air.我是不能像变魔术似的把钱变来。

2 cosmopolitan   

adj.世界性的，全世界的，四海为家的，全球的

参考例句：

• New York is a highly cosmopolitan city.纽约是一个高度世界性的城市。
• She has a very cosmopolitan outlook on life.她有四海一家的人生观。

3 versatile   

adj.通用的，万用的；多才多艺的，多方面的

参考例句：

• A versatile person is often good at a number of different things.多才多艺的人通常擅长许多种不同的事情。
• He had been one of the game's most versatile athletes.他是这项运动中技术最全面的运动员之一。

4 metropolitan   

adj.大城市的，大都会的

参考例句：

• Metropolitan buildings become taller than ever.大城市的建筑变得比以前更高。
• Metropolitan residents are used to fast rhythm.大都市的居民习惯于快节奏。

5 pictorial   

adj.绘画的；图片的；n．画报

参考例句：

• The had insisted on a full pictorial coverage of the event.他们坚持要对那一事件做详尽的图片报道。
• China Pictorial usually sells out soon after it hits the stands.《人民画报》往往一到报摊就销售一空。

6 attain   

vt.达到，获得，完成

参考例句：

• I used the scientific method to attain this end. 我用科学的方法来达到这一目的。
• His painstaking to attain his goal in life is praiseworthy. 他为实现人生目标所下的苦功是值得称赞的。

7 mellowness   

成熟； 芳醇； 肥沃； 怡然

参考例句：

• I love these colours because they symbolize mellowness, abundance, strength and happiness. 我喜欢这秋色，因为它表示着成熟、昌盛和繁荣，也意味着愉快、欢乐和富强。 来自汉英文学 - 现代散文
• The mellowness of the cuckoo report the come of spring. 杜鹃甜美的叫声报告了春天的来临。

8 originality   

n.创造力，独创性；新颖

参考例句：

• The name of the game in pop music is originality.流行音乐的本质是独创性。
• He displayed an originality amounting almost to genius.他显示出近乎天才的创造性。

9 versatility   

n.多才多艺，多样性，多功能

参考例句：

• Versatility is another of your strong points,but don't overdo it by having too many irons in the fire.你还有一个长处是多才多艺，但不要揽事太多而太露锋芒。
• This versatility comes from a dual weather influence.这种多样性是由于双重的气候影响而形成的。

10 domain   

n.(活动等)领域，范围；领地，势力范围

参考例句：

• This information should be in the public domain.这一消息应该为公众所知。
• This question comes into the domain of philosophy.这一问题属于哲学范畴。

11 temperament   

n.气质，性格，性情

参考例句：

• The analysis of what kind of temperament you possess is vital.分析一下你有什么样的气质是十分重要的。
• Success often depends on temperament.成功常常取决于一个人的性格。

12 replica   

n.复制品

参考例句：

• The original conservatory has been rebuilt in replica.温室已按原样重建。
• The young artist made a replica of the famous painting.这位年轻的画家临摹了这幅著名的作品。

13 sentimental   

adj.多愁善感的，感伤的

参考例句：

• She's a sentimental woman who believes marriage comes by destiny.她是多愁善感的人，她相信姻缘命中注定。
• We were deeply touched by the sentimental movie.我们深深被那感伤的电影所感动。

14 supreme   

adj.极度的，最重要的；至高的，最高的

参考例句：

• It was the supreme moment in his life.那是他一生中最重要的时刻。
• He handed up the indictment to the supreme court.他把起诉书送交最高法院。

15 accomplished   

adj.有才艺的；有造诣的；达到了的

参考例句：

• Thanks to your help,we accomplished the task ahead of schedule.亏得你们帮忙,我们才提前完成了任务。
• Removal of excess heat is accomplished by means of a radiator.通过散热器完成多余热量的排出。

16 artistically   

adv.艺术性地

参考例句：

• The book is beautifully printed and artistically bound. 这本书印刷精美，装帧高雅。
• The room is artistically decorated. 房间布置得很美观。

17 deftness   

参考例句：

• Handling delicate instruments requires deftness. 使用精巧仪器需要熟练。 来自《现代英汉综合大词典》
• I'm greatly impressed by your deftness in handling the situation. 你处理这个局面的机敏令我印象十分深刻。 来自高二英语口语

18 dunes   

沙丘( dune的名词复数 )

参考例句：

• The boy galloped over the dunes barefoot. 那男孩光着脚在沙丘间飞跑。
• Dragging the fully laden boat across the sand dunes was no mean feat. 将满载货物的船拖过沙丘是一件了不起的事。

19 charcoal   

n.炭，木炭，生物炭

参考例句：

• We need to get some more charcoal for the barbecue.我们烧烤需要更多的碳。
• Charcoal is used to filter water.木炭是用来过滤水的。

20 elasticity   

n.弹性，伸缩力

参考例句：

• The skin eventually loses its elasticity.皮肤最终会失去弹性。
• Every sort of spring has a definite elasticity.每一种弹簧都有一定的弹性。

21 attained   

（通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况）

参考例句：

• She has attained the degree of Master of Arts. 她已获得文学硕士学位。
• Lu Hsun attained a high position in the republic of letters. 鲁迅在文坛上获得崇高的地位。

22 forth   

adv.向前；向外，往外

参考例句：

• The wind moved the trees gently back and forth.风吹得树轻轻地来回摇晃。
• He gave forth a series of works in rapid succession.他很快连续发表了一系列的作品。

23 situated   

adj.坐落在...的，处于某种境地的

参考例句：

• The village is situated at the margin of a forest.村子位于森林的边缘。
• She is awkwardly situated.她的处境困难。

24 bent   

n.爱好，癖好；adj.弯的；决心的，一心的

参考例句：

• He was fully bent upon the project.他一心扑在这项计划上。
• We bent over backward to help them.我们尽了最大努力帮助他们。

25 relic   

n.神圣的遗物，遗迹，纪念物

参考例句：

• This stone axe is a relic of ancient times.这石斧是古代的遗物。
• He found himself thinking of the man as a relic from the past.他把这个男人看成是过去时代的人物。

26 prehistoric   

adj.（有记载的）历史以前的，史前的，古老的

参考例句：

• They have found prehistoric remains.他们发现了史前遗迹。
• It was rather like an exhibition of prehistoric electronic equipment.这儿倒像是在展览古老的电子设备。

27 dinosaurs   

n.恐龙( dinosaur的名词复数 )；守旧落伍的人，过时落后的东西

参考例句：

• The brontosaurus was one of the largest of all dinosaurs. 雷龙是所有恐龙中最大的一种。 来自《简明英汉词典》
• Dinosaurs have been extinct for millions of years. 恐龙绝种已有几百万年了。 来自《简明英汉词典》

28 rigid   

adj.严格的，死板的；刚硬的，僵硬的

参考例句：

• She became as rigid as adamant.她变得如顽石般的固执。
• The examination was so rigid that nearly all aspirants were ruled out.考试很严，几乎所有的考生都被淘汰了。

29 irony   

n.反语，冷嘲；具有讽刺意味的事，嘲弄

参考例句：

• She said to him with slight irony.她略带嘲讽地对他说。
• In her voice we could sense a certain tinge of irony.从她的声音里我们可以感到某种讥讽的意味。

30 ancestry   

n.祖先，家世

参考例句：

• Their ancestry settled the land in 1856.他们的祖辈1856年在这块土地上定居下来。
• He is an American of French ancestry.他是法国血统的美国人。

31 benevolent   

adj.仁慈的，乐善好施的

参考例句：

• His benevolent nature prevented him from refusing any beggar who accosted him.他乐善好施的本性使他不会拒绝走上前向他行乞的任何一个乞丐。
• He was a benevolent old man and he wouldn't hurt a fly.他是一个仁慈的老人，连只苍蝇都不愿伤害。

32 millet   

n.小米，谷子

参考例句：

• Millet is cultivated in the middle or lower reaches of the Yellow River.在黄河中下游地区，人们种植谷子。
• The high quality millet flour was obtained through wet milling.采用湿磨法获得了高品质的小米粉。

33 rhetoric   

n.修辞学，浮夸之言语

参考例句：

• Do you know something about rhetoric?你懂点修辞学吗？
• Behind all the rhetoric,his relations with the army are dangerously poised.在冠冕堂皇的言辞背后，他和军队的关系岌岌可危。

34 orphans   

孤儿( orphan的名词复数 )

参考例句：

• The poor orphans were kept on short commons. 贫苦的孤儿们吃不饱饭。
• Their uncle was declared guardian to the orphans. 这些孤儿的叔父成为他们的监护人。

35 widower   

n.鳏夫

参考例句：

• George was a widower with six young children.乔治是个带著六个小孩子的鳏夫。
• Having been a widower for many years,he finally decided to marry again.丧偶多年后，他终于决定二婚了。

36 reverenced   

v.尊敬，崇敬( reverence的过去式和过去分词 )；敬礼

参考例句：

• The name of Albert Einstein is still reverenced by the scientists all over the world. 爱因斯坦的名字仍然受到世界各地科学家的崇敬。 来自互联网
• For it is always necessary to be loved, but not always necessary to be reverenced. 一个人总是能得到必要的爱，却不总是能得到必要的尊敬。 来自互联网

37 innocence   

n.无罪；天真；无害

参考例句：

• There was a touching air of innocence about the boy.这个男孩有一种令人感动的天真神情。
• The accused man proved his innocence of the crime.被告人经证实无罪。

38 mythology   

n.神话，神话学，神话集

参考例句：

• In Greek mythology,Zeus was the ruler of Gods and men.在希腊神话中，宙斯是众神和人类的统治者。
• He is the hero of Greek mythology.他是希腊民间传说中的英雄。

39 imps   

n.（故事中的）小恶魔( imp的名词复数 )；小魔鬼；小淘气；顽童

参考例句：

• Those imps are brewing mischief. 那些小淘气们正在打坏主意。 来自辞典例句
• No marvel if the imps follow when the devil goes before. 魔鬼带头，难怪小鬼纷纷跟随。 来自互联网

40 ardent   

adj.热情的，热烈的，强烈的，烈性的

参考例句：

• He's an ardent supporter of the local football team.他是本地足球队的热情支持者。
• Ardent expectations were held by his parents for his college career.他父母对他的大学学习抱着殷切的期望。

41 discourse   

n.论文，演说；谈话；话语；vi.讲述，著述

参考例句：

• We'll discourse on the subject tonight.我们今晚要谈论这个问题。
• He fell into discourse with the customers who were drinking at the counter.他和站在柜台旁的酒客谈了起来。