Drei Figuren, wohl Tänzer (Three Figures) [p. 71] 

Curator: This evocative pencil drawing, titled "Drei Figuren, wohl Tänzer" or "Three Figures, probably Dancers," is by Max Beckmann. Editor: The sketchiness is immediately striking. The figures feel like they are barely there, quickly captured gestures full of latent energy. Is there an apocalyptic mood at work here, considering Beckmann's experiences of war and his German Expressionist associations? Curator: Beckmann certainly explored trauma in his work. His engagement with World War I is vital for interpreting how anxieties shaped the formal techniques in the arts. It seems these are notes toward future, more complex compositions. Editor: The very nature of "rough sketching" creates a raw quality—not trying to show an exact replication. The symbolism of three figures in dance – are they celebratory or menacing? Is Beckmann possibly portraying The Three Graces? The visual culture across traditions informs modern symbol-making and challenges traditional depictions of feminine grace in the 20th Century. Curator: This drawing marks a crucial moment, situated amidst the changing roles of museums and institutions actively involved in art creation and cultural representation in Weimar Germany, the cultural and political changes of Germany would also give a background to understanding this theme in Max Beckmann’s portfolio. Editor: I like that connection between this fragile sketch, its place, and the time. Each line now whispers a story beyond the dancing figures themselves. Curator: This artwork illustrates the shifting aesthetics around trauma during Beckmann’s expressionistic phase, showing its historical effects of societal transformation in postwar Germany. Editor: Indeed, contemplating this sketch lets me think more about this moment in time and Beckmann’s vision in this period.