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Updated: June 16, 2025
His horses are not as rhythmic as those of Degas, his landscapes are not as sun-flooded as those of Monet, nor are his Holland bits so charged with homely sentiment as those of Josef Israels. But Liebermann is Liebermann, with a supple, flowing, pregnant line, his condensed style a versatile conception, a cynical, at times, outlook upon the life about him; enfin a colourist.
Therefore I don't think I exaggerate the claims of Max Liebermann, who is, for me, the most important of living German artists, and one of the few great painters of to-day in any land.
Abbe Monnet, Superior of the Society of the Holy Ghost, was appointed to succeed him, and Rev. Abbe Liebermann, a distinguished convert from Judaism, was unanimously elected to the post of superior-general of the two united societies. The labors of Abbe Liebermann were crowned with complete success.
Against Boecklin's followers, whose minds are more or less befogged by their lack of appreciation of paint as a means to an end, we must place Wilhelm Truebner who is a clear thinker and a great painter, with more warmth than Liebermann and with a reticent color sense, a feeling for expressive form, a love of reality, and no apparent desire to re-invent the grotesque.
The portrait of Conrad Ansorge, a former Liszt pupil, by Louis Corinth, was not without character, the tempo slow, as is the tempo of Ansorge himself. Corinth, like Von Uhde, Leopold von Kalckreuth, O. H. Engel, Skarbina, Bantzer, Slevogt, Waldemar Rösler, is a follower of Max Liebermann, whose influence is easily discernible in the work of these younger men.
Certainly Matthew Arnold could say of it, as he once said of Paris, that the great goddess Lubricity reigned in state. In the Moderne Galerie I am still in Munich I was reassured; I saw Israels, Gauguin, Van Gogh what masters! Trübner, Hodler, Zügel, Von Uhde, Max Slevogt a fine view of Frankfort and some children at the seashore by my favourite, Max Liebermann.
We get much the same austere effect from the almshouse pictures of old men and women on benches in the open square, always arranged in a geometrical design, and always calm in gesture and mild in type, which appear from time to time in the foreign exhibitions of Liebermann's work. Liebermann has done for the Germans something of what Millet did for the French.
A case of defrauding one Sophie Liebermann, or Laubermann, or some such foreign name, by giving her one of those five-pound Christmas-card banknotes just then in fashion, and receiving from her, as she alleged, three real sovereigns change.
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.
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 Orphans, The Widower, 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.
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