The Last Ones, plate ten from Die Hölle

Although Max Beckmann did not take a clear stand on the November Revolution (1918), in this image he seems to have been supporting the revolutionaries, just as he appeared to mourn Rosa Luxemburg as a revolutionary martyr in the fourth plate of this series. That said, the print shares the cramped and awkward space and the schematic and blunt depiction of forms and male types that make the image less than an unambiguous heroic work. As Beckmann stated, in general he preferred the role of the observer.