This is a study of nine triptychs of Max Beckmann. The aim of this dissertation is analysis of the symbols of nine triptychs. Max Beckmann is made mention of the relation to Neue Sachlichkeit, but his uniqueness is an effort to symbolize all objects. This character appeared coherently from the early years to the last years. Specially in nine triptychs the symbols that appeared all those days integrated in the whole meeting and parting.
The reason that Beckmann used symbolic images more in triptychs than in independent pictures is basically caused by the peculiarity of triptych itsel£ The role of the triptych is originally to show fundamental world by representation of religious episodes. So Beckmann used this character of triptych for his nine triptychs. Another peculiarity of triptych that Beckmann put to practical use is interaction of three panels. So Beckmann put use the structural character of triptych to opposite central panel to side panels.
Art historical background that Beckmann accepts triptych form is influence of various experiments on triptych in the same period. After the end of the 19th century several artists rided the triptych form religious character. Beckmann accepted the result of these experiments of triptych form.
The abstrude and complex images of nine triptychs is based on Christianity, myths, and hermetic traditions. This aspect is due to the concern of Beckmann. But his symbolic images are as ever vague because he used the symbols with personal intention.
In spite of the vagueness of the images, there is coherent subjects pass through nine triptychs. In conformity to several subjects abstrude and complex symbols have some stories. The subjects of nine triptychs are the sufferings in difficult days, sexual discord, difficulties in artistic creation. These subjects offer interpretation of his personal symbols.