Enkelin Maria auf dem Arm der Kinderfrau (1916)

Max Liebermann (1847–1935) was a German painter and printmaker of Ashkenazi Jewish descent, acclaimed for his crucial contributions to the rise and evolution of Impressionism in Germany. Recognized as one of the leading personalities in German art at the dawn of the twentieth century, Liebermann offered new interpretations of established traditions, skillfully merging realism with the luminous color palette and lively brushstrokes that define Impressionist painting.

Liebermann was born into affluence; his father, originally a Jewish textile manufacturer, later transitioned to banking in Berlin. Raised in a stately townhouse close to the famous Brandenburg Gate, he was immersed in the city’s dynamic cultural scene from a young age. This exposure played an important part in fostering both his artistic curiosity and ambitions.

He started his studies in law and philosophy at the University of Berlin, in line with his family’s aspirations for him to pursue a distinguished academic or professional path. Nevertheless, his enthusiasm for art ultimately took precedence, leading him to devote himself to painting and drawing. Liebermann began formal art training in Weimar in 1869. His education brought him to Paris in 1872, where Impressionism was flourishing, and later to the Netherlands from 1876 to 1877, where he studied techniques practiced by the old Dutch masters.

Max Liebermann’s oeuvre is marked by luminous portrayals of ordinary life, most notably scenes involving laborers, gardens, and landscapes, all rendered in a manner emblematic of his Impressionist approach. In his later years, as president of the Prussian Academy of Arts, he played a pivotal role in shaping the direction of German art, guiding emerging talents and safeguarding creative freedom during a period marked by enormous social and political transformation.