Für Max Liebermann war die Natur st

Für Max Liebermann war die Natur stets auch ein von Menschen gemachtes (und von ihnen bewohntes) Paradies. Seine Motive fand er in Gärten, Parks und in bürgerlichen Vergnügungsstätten. Liebermann ist ein Meister des inszenierten Lichts, das er - oft durch ein Laubdach vielfach gebrochen - auf seine Szenen fallen lässt. Markant sind die einzelnen, bis zum Boden durchdringenden Strahlenbündel, die als „Liebermannsche Sonnenflecken“ in die Kunstgeschichte eingingen.

Results (English) 1:

For Max Liebermann, nature was always also a made by people (and of them inhabited) paradise. He found his motifs in gardens, parks and civic places of entertainment. Lieberman is a master of the staged light, he - often through a canopy is often broken - dropping on his scenes. The single, penetrating to the floor beams which have entered as "Liebermannsche sun-spots" in the history of art are distinctive.

Results (English) 2:

For Max Liebermann nature has always been a man-made (and of them inhabited) paradise. His motifs he found in gardens, parks and entertainment places in bourgeois. Liebermann is a master of staged light that he - often broken in many cases by a canopy - drops to his scenes. Striking are the single, penetrating to the floor beams that were received as "Liebermannsche sunspots" in the history of art.

Results (English) 3:

For Max Liebermann was always a Nature of people benefitting from (and of them inhabited) paradise. His subjects he found in gardens, parks, and in bourgeois entertainments. Liebermann is a master of the staged light which he frequently broken, often through a shelter - on his scenes. Striking are the individual, to the ground penetrating rays.As the "Liebermannsche sunspots" received in the art history.