Max LiebermannGerman, 1847–1935Eduard Bernstein
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Harvard Art Museums
Cambridge, United States
It belongs to the collection, but is not on display at present.
- Checked
- yesterday
- In this state since
- Sep 27, 2026
- Source
- The museum's own collection data
Particulars
- Accession number
- M12038
In the catalog
Sources
- Harvard Art Museums: the museum's own open data · fetched 5 days ago
- Image: Harvard Art Museums — © President and Fellows of Harvard College
Meanwhile, in the life of Max Liebermann
The whole life1917
Retrospective for his 70th birthday at the Prussian Academy
The Academy showed almost 200 paintings; the director of the National Gallery, Ludwig Justi, promised Liebermann a cabinet of his own, and Wilhelm II approved the exhibition and awarded him the Order of the Red Eagle, 3rd class. The honoree noted with satisfaction that the Kaiser had buried the hatchet against modern art.
18 January 1918
The Max Liebermann Cabinet opens at the National Gallery
The cabinet promised by the director Ludwig Justi opened on 18 January; the Minister of Education, Friedrich Schmidt-Ott, gave the inauguration speech.
November 1918
The November Revolution: machine guns in his house
Monarchists installed machine guns in Liebermann's house on Pariser Platz, so revolutionary soldiers stormed the palace; when a bullet passed through the wall into the drawing room, the defenders surrendered. Liebermann brought his valuable picture collection to safety and moved with his wife into their daughter's house for a few weeks.
1920
Elected president of the Academy of Arts
After the war and revolution Liebermann took over the Academy and tried to unite the various currents beneath its roof, Expressionism included: under him Max Pechstein, Karl Hofer, Heinrich Zille, Otto Dix and Karl Schmidt-Rottluff were admitted. He gave it a democratic structure and a free system of education.
1920s
Defends Otto Dix's “Trench”
Liebermann supported Dix's emotional depiction of the horror of the world war, which was accused of being tendentious, calling it one of the most important works of the post-war period. At the same time, despite his basically tolerant views, he polemicized against Ludwig Justi, who brought Expressionists to the National Gallery.
