Adam and Eve 1917

Max Beckmann's 'Adam and Eve' is a painting that appears to have been wrestled into existence. The figures emerge from a murky background, rendered in muted tones of grey, white and brown. I get the feeling that Beckmann isn't trying to illustrate a story here, but rather grappling with the weight of its cultural baggage. Adam's awkward stance, and Eve's glazed expression, make me wonder if he’s thinking about innocence and experience, and how desire and knowledge throw a wrench into the gears of paradise. The surface looks overworked, like he’s layering on the paint, scraping it back, and then layering some more. It’s like he’s building up the image through trial and error, letting the figures take shape through a slow, intuitive process. It reminds me of other painters who aren't afraid to let the struggle show – artists like Paula Modersohn-Becker and Lovis Corinth. Ultimately, painting is a conversation across time, artists responding to artists and the big questions. Each work is a gesture that embraces uncertainty, opening up space for multiple interpretations.