The Editors: Rose-Carol Washton Long is Professor of Art History at the Graduate Center of the City University of New York; she is a specialist in Germanic culture of the early twentieth century and writes about Expressionism, Neue Sachlichkeit, and the Bauhaus.Maria Makela is Professor and Chair of Visual Studies at California College of the Arts; her publications have focused on the visual culture of the Wilhelmine Empire and the Weimar Republic.

• Contents: Rose-Carol Washton Long/Maria Makela: Introduction – Jay A. Clarke: Space as Metaphor: Beckmann and the Conflicts of Secessionist Style in Berlin – Karen Lang: Max Beckmann’s Inconceivable Modernism – Rose-Carol Washton Long: Ambivalence: Personal and Political: Max Beckmann’s Print Portfolios, 1919-1924 – Marsha Morton: ‘Painted Sounds’: Music in the Art of Max Beckmann – Barbara C. Buenger: Some Portraits from Weimar-Era Frankfurt – James Van Dyke: Max Beckmann, Sport and the Field of Cultural Criticism – Peter Chametzky: Titanic Sinks, Departure Arrives: On Beckmann, Film and the Fall of History Painting and Rise of the Historical Object – Sabine Eckmann: Max Beckmann: From Space to Place – F. Forster-Hahn: Imagining the American West: Max Beckmann in St. Louis and California – David Ehrenpreis: Between Heaven and Earth: Max Beckmann’s Last Representations of the Artist.

The Editors: Rose-Carol Washton Long is Professor of Art History at the Graduate Center of the City University of New York; she is a specialist in Germanic culture of the early twentieth century and writes about Expressionism, Neue Sachlichkeit, and the Bauhaus.Maria Makela is Professor and Chair of Visual Studies at California College of the Arts; her publications have focused on the visual culture of the Wilhelmine Empire and the Weimar Republic.

• Contents: Rose-Carol Washton Long/Maria Makela: Introduction – Jay A. Clarke: Space as Metaphor: Beckmann and the Conflicts of Secessionist Style in Berlin – Karen Lang: Max Beckmann’s Inconceivable Modernism – Rose-Carol Washton Long: Ambivalence: Personal and Political: Max Beckmann’s Print Portfolios, 1919-1924 – Marsha Morton: ‘Painted Sounds’: Music in the Art of Max Beckmann – Barbara C. Buenger: Some Portraits from Weimar-Era Frankfurt – James Van Dyke: Max Beckmann, Sport and the Field of Cultural Criticism – Peter Chametzky: Titanic Sinks, Departure Arrives: On Beckmann, Film and the Fall of History Painting and Rise of the Historical Object – Sabine Eckmann: Max Beckmann: From Space to Place – F. Forster-Hahn: Imagining the American West: Max Beckmann in St. Louis and California – David Ehrenpreis: Between Heaven and Earth: Max Beckmann’s Last Representations of the Artist.