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Updated: June 16, 2025
The wit and irony of the man and painter come both from Berlin and from his Jewish ancestry. He looks like a benevolent Mephistopheles, and is kindness personified to young artists. Subjecting himself to the influence of Courbet, Millet, 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.
Liebermann it is to be said that probably no living man has so complete a knowledge of the material which the historian of this period must use, whether that be the original material of the age itself or the scattered work of secondary authorities of different ages and many languages.
Then there were Langhammer and Reumaini, the clever Max Mayrshofer, Bechler of the snow scenes, Obwald, Tooby, Leibl, Marées, and a very strongly conceived and soundly modelled nude by the Munich artist, Ernest Liebermann, one of the most gifted of the younger men and no relation of Meister Max of the same name. Local art in Vienna did not give me a thrill.
Most of the Berlin men who are in any degree notable share somewhat in this attribute. Arthur Kampf, although he has less than Liebermann of cool detachment, has both elegance and gravity. He could hardly have had a better representation by any one or two canvases than by the "Charity" and the "Two Sisters" of the American exhibition.
He once told Liebermann that Adolf Menzel only made caricatures, not portraits. You rub your eyes and wonder. Liebermann has said that this rigid 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.
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, originality, versatility, America, I think, has not yet had an adequate idea. Versatility is commonly regarded as an indication of superficiality. How, asks Mr.
The history of the next age shows that the way had been prepared for rapid changes, when political conditions would permit; and the grandson of the first Henry found himself obliged to yield, in part at least, to demands of the Church entirely logical in themselves, but unheard of in his grandfather's time. Eadmer, p. 172. Liebermann, Quadripartitus, p. 155.
Perkin, an English chemist, and Messrs. Graebe and Liebermann, German chemists, almost simultaneously applied for patents in 1869, in England, and as their methods were nearly identical they arranged priorities by the exchanging of licenses.
The profounder note which the French painters sometimes miss is not missing in Liebermann. He has avoided both the pomp and rhetoric of the academic school and the sentimentality of the latter-day Germans.
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 ardent colourist, and he must have felt lonely there there were no others like him.
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