Self-Portrait In Tuxedo
© President and Fellows of Harvard College
Identification and Creation
Object Number
Max Beckmann, German (Leipzig, Germany 1884 - 1950 New York, N.Y., USA)
Self-Portrait in Tuxedo
Other Titles
Original Language Title: Selbstbildnis im Smoking
Work Type
Level 1, Room 1500, Modern and Contemporary Art
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Physical Descriptions
Oil on canvas
139.5 x 95.5 cm (54 15/16 x 37 5/8 in.)
framed: 151.4 x 105.7 x 4.4 cm (59 5/8 x 41 5/8 x 1 3/4 in.)
Inscriptions and Marks
  • Signed: l.r., Beckmann F. 27
Julius Meier-Graefe, sold; to National Gallery, Berlin, 1928, removed from the collection by the National Socialist (Nazi) authorities, 1937 or 1938. [Buchholz Gallery, Berlin]; [Buchholz Gallery, New York], sold; to Busch-Reisinger Museum, 1941.

Acquisition and Rights
Credit Line
Harvard Art Museums/Busch-Reisinger Museum, Association Fund
© Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
Object Number
Modern and Contemporary Art
Publication History

Max Beckmann Retrospective Exhibition, exh. cat., City Art Museum of St. Louis (St. Louis, MO, 1948), no. 17, checklist p. 95

Charles Werner Haxthausen, The Busch-Reisinger Museum, Harvard University, Abbeville Press (New York, NY, 1980), pp. 11, 19, repr. p. 19

Kristin A. Mortimer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums/Abbeville Press (Cambridge, MA; New York, NY, 1985), no. 381, p. 318, repr.

Peter Nisbet and Emilie Norris, Busch-Reisinger Museum: History and Holdings, Harvard University Art Museums (Cambridge, MA, 1991), p. 60, ill.

James Cuno, Harvard's Art Museums: 100 Years of Collecting, Harvard University Art Museums/Harry N. Abrams, Inc. (Cambridge, MA, 1996), pp. 348-349, repr. color

Tobia Bezzola and Cornelia Homburg, Max Beckmann and Paris: Matisse Picasso Braque Léger Rouault, exh. cat., Taschen (Cologne, Germany, 1998), p. 17, cat. no. 5

Pia Gottschaller, "Max Beckmann: His Painting Materials and Technique" (thesis (certificate in conservation), Straus Center for Conservation and Technical Studies, 1998), Unpublished, pp. 1-33 passim

Görel Cavalli-Björkman, ed., Face to Face: Portraits from Five Centuries, exh. cat., National Museum Stockholm (Stockholm, 2001), fig. no. 6, p. 30, b/w illus.

Beckmann: Centre Pompidou, exh. cat., Editions du Centre Pompidou (Paris, France, 2002), p. 225 and cover, color ill.

Sean Rainbird, ed., Max Beckmann, exh. cat., Tate Modern (London, 2003), cat. no. 88, color ill.

Sean Rainbird, ed., Max Beckmann, exh. cat., Museum of Modern Art, New York (New York, 2003), cat. no. 88, p. 156, color ill.

Shearer West, Portraiture, Oxford University Press (NY) and Oxford University Press (UK) (Oxford, 2004), fig. no. 110, b/w illus.

Peter Nisbet and Joseph Koerner, The Busch-Reisinger Museum, Harvard University Art Museums, ed. Peter Nisbet, Harvard University Art Museums and Scala Publishers Ltd. (Cambridge, MA and London, England, 2007), pp. 1, 115

Pinakothek der Moderne, ed., Max Beckmann: Exile in Amsterdam, exh. cat., Hatje Cantz Verlag (Munich, 2007), pp.14, 38, fig. 2, 5

Alvin L. Clark, Jr., Harvard Art Museum/ Handbook, ed. Stephan Wolohojian, Harvard Art Museum (Cambridge, MA, 2008), p. 208, ill.

Barbara Buenger, Of 'Truths Impossible to Put into Words.' Max Beckmann Contextualized, ed. Rose-Carol Washton Long and Maria Makela, Peter Lang (New York, 2009), pp. 169-176, fig. 43, ill.

Jutta Schutt, ed., Beckmann and America, exh. cat., Städel Museum and Hatje Cantz (Frankfurt am Main, Germany, 2011), pp. 58-59, ill.

Susanne Petri and Hans-Werner Schmidt, Max Beckmann: Von Angesicht zu Angesicht, exh. cat., Hatje Cantz and Museum der bildenden Kunste Leipzig (Leipzig, Germany, 2011), pp. 13, 30-31, ill.

Reinhard Spieler, Max Beckmann 1884-1950 The Path to Myth, Taschen GmbH (Cologne, Germany, 2011), pp. cover, 8-9, 74, 83, 87, ill. (color)

Jeanette Pacher, ed., Rudolf Stingel: Secession, exh. cat., Revolver Publishing (Berlin, 2012), p. 24, ill. (black and white)

Charles Werner Haxthausen, "The Busch-Reisinger Museum, Harvard: the Germanic Tradition", Apollo (May 1978), vol. 107, no. 195, pp. 403-413, p. 409, repr. p. 406 as fig. 2

Terry Sullivan, "Multiple Personalities: Self-Portraits in Series by Four Masters", American Art (September 1997), vol. 61, no. 662, p. 35

Exhibition History

Max Beckmann Retrospective Exhibition, City Art Museum of St. Louis, St. Louis, 05/01/1948 - 05/31/1948

Neue Sachlichkeit, Centre National d'Art et de Culture Georges Pompidou, Paris, 07/12/1978 - 11/06/1978; Arts Council of Great Britain, London, London, 11/08/1978 - 01/14/1979

Works from the 20th Century Collection of the Busch-Reisinger, National Gallery of Art, Washington, 06/15/1980 - 09/01/1980; Wildenstein Gallery, New York, New York, 09/23/1980 - 10/24/1980

Deutsche Kunst des 20. Jahrhunderts aus dem Busch-Reisinger Museum, Bauhaus-Archiv, Berlin 30, 02/10/1983 - 04/17/1983; Kunstmuseum Düsseldorf, Düsseldorf, 05/08/1983 - 06/26/1983; Stadtische Galerie im Stadelschen Kunstinstitut, Frankfurt, 10/23/1982 - 01/16/1983

Hinter der Buhne (Backstage): Max Beckmann 1950, Museum der bildenden Künste, Leipzig, 07/20/1990 - 09/19/1990; Stadtische Galerie im Stadelschen Kunstinstitut, Frankfurt, 10/10/1990 - 01/13/1991

Max Beckmann Self-Portraits, Hamburger Kunsthalle, D-20095 Hamburg 1, 03/19/1993 - 05/23/1993; Bayerische Staatsgemäldesammlungen, Alte Pinakothek, 80799 München, 06/09/1993 - 07/25/1993

Max Beckmann and Paris, Kunsthaus Zürich, CH-8024 Zurich, 09/25/1998 - 01/03/1999

Max Beckmann, Tate Modern, London, 02/12/2003 - 05/05/2003; Museum of Modern Art, New York, New York, 06/25/2003 - 09/30/2003; Centre National d'Art et de Culture Georges Pompidou, Paris, 09/10/2002 - 01/06/2003

Re-View: S118 European & American Art since 1900, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 09/13/2008 - 04/09/2011

Re-View: European and American Art Since 1900, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 05/03/2011 - 06/01/2013

Subjects and Contexts

Collection Highlights

Making of a Museum

Artstor Digital Library

Verification Level

3 - Good. Object is well described and information is vetted