Departure, a concept involving physical or metaphorical movement from a place or state, is vividly explored in Max Beckmann’s triplych Departure (1932–1935), where it symbolizes both turmoil and hope. The work’s central panel portrays a king’s blessing amid a sea of blue, suggesting renewal, while the side panels evoke conflict and restriction.
Authors like Joseph Conrad view departure as a rhythmic, almost inevitable part of life, while Omar Khayyám casts doubt on its fleeting worth. Alexander Maclaren contrasts departure with arrival, highlighting the role of agency in change. Beckmann’s rejection of political intent underscores departure’s universal appeal, reflecting its dual nature as an end and a beginning across art and literature.