Georg Baselitz Book order

An exploration by an artist and writer duo of a fundamental constant in the history of humankind: rage, and its impact on the world. Rage and obstinacy are close relatives--and fundamental categories in the work of both Georg Baselitz and Alexander Kluge. In World-Changing Rage, these two accomplished German creators explore links and fractures between two cultures through two media: ink and watercolor on paper, and the written word. The long history of humankind is also a history of rage, fury, and wrath. In this book, Baselitz and Kluge explore the dynamism of rage and its potential to rapidly grow and erupt into blazing protests, revolution, and war. The authors also reflect the melancholy archetype of the Western hero (and his deconstruction) against the very different heroic ethos of the Japanese antipodes. More powerful than rage, they argue, is wit, as displayed in the work of Japanese master painter Katsushika Hokusai. In this volume, Baselitz repeatedly draws an image of Hokusai, depicting him with an outstretched finger, as if pointing towards Europe in a mixture of rage, wrath, irony, and laughter, all-too-fleetingly evident in his expression. A unique collaboration between two of the world's leading intellectuals, World-Changing Rage will leave every reader with a deeper appreciation of the human condition.

Rousseau s Academy by Georg Baselitz There is a remarkable painting in the Picasso room at the Kunstmuseum in Basel: a full-length portrait of Guillaume Apollinaire with his muse, Marie Laurencin. It was Henri Rousseau who painted this wonderful picture. Only I had remembered it as a self-portrait of Rousseau with Madame Rousseau. Marie Laurencin was Apollinaire s muse, Clémence Rousseau was Rousseau s muse. As it happens, Franz Marc painted a portrait of Rousseau for Der Blaue Reiter. And Picasso also had a self-portrait by Henri. There s a quite intimate photograph, taken by André Gomés, of Picasso holding Rousseau s self-portrait in his right hand and the portrait of Rousseau s wife in his left hand. Picasso, that constructor of novel objects and audacious paintings, loved Rousseau, the painter of things in rigidified grace. Even Rousseau s gaze in his self-portrait is stiff, directed at his own work, in which objects that we ourselves are familiar with look different - Gothic, Byzantine, somehow not the way we are used to seeing them. It wasn t just the Egyptian Picasso, other image constructors - Kandinsky, for instance - also had pictures of Rousseau. Vasily had the little canvas The Painter and His Wife (1899). De Chirico drew Picasso and friends sitting beneath Rousseau s self-portrait with palette. And didn t Beckmann paint Rousseau s hot-air balloon and his street? I myself have Rousseau s red lithograph The War (c. 1895), which was also done by Ensor and by Uccello; there s something similar by Böcklin and also by Stefano della Bella. I have painted a lot of portraits of my wife and myself in recent years, many showing us dressed as others - sometimes as my parents, sometimes as Lenin and Stalin, but mostly as Otto Dix s parents. That double portrait of Dix s parents is also in the Basel Kunstmuseum, with another version in Hanover. So it was to be that kind of double portrait of E

An exploration by an artist and writer duo of a fundamental constant in history of humankind: rage, and its impact on the world. Rage and obstinacy are close relatives--and fundamental categories in the work of both Georg Baselitz and Alexander Kluge. In World-Changing Rage, these two accomplished German creators explore links and fractures between two cultures through two media: ink and watercolour on paper, and the written word. The long history of humankind is also a history of rage, fury, wrath. In this book, Baselitz and Kluge explore the dynamism of rage and its potential to rapidly grow and erupt into blazing protests, revolution, and war. The authors also reflect the melancholy archetype of the Western hero (and his deconstruction) against the very different heroic ethos of the Japanese antipodes. More powerful than rage, they argue, is wit, as displayed in the work of Japanese master painter Katsushika Hokusai. In this volume, Baselitz repeatedly draws an image of Hokusai, depicting him with an outstretched finger, as if pointing towards Europe in a mixture of rage, wrath, irony, and laughter, all-too-fleetingly evident in his expression. A unique collaboration between two of the world's leading intellectuals, World-Changing Rage will leave every reader with a deeper appreciation of the human condition.

Von Georg Baselitz befinden sich 31 Meisterwerke aus allen Schaffensphasen in den Bayerischen Staatsgemäldesammlungen. Der Band analysiert erstmals diese bedeutenden Gemälde und Skulpturen im Kontext der Sammlungsgeschichte. Sie ist von herausragenden Wegbegleitern und Sammlern des Künstlers, darunter Herzog Franz von Bayern, ebenso geprägt wie vom leidenschaftlichen Engagement der Museumsdirektoren und -kuratoren. Als 1972 mit der „Seeschwalbe“ das erste Werk von Georg Baselitz in die Bayerischen Staatsgemäldesammlungen gelangte, war dies ein erster Schritt für den Aufbau einer epochalen Sammlung. Heute, 46 Jahre später, widmet das Haus dem über die Jahrzehnte aufgebauten Schwerpunkt diese umfassende Publikation. Sie rückt einen Glanzpunkt der Sammlung Kunst ab 1945 ins Zentrum, deren herausragendes Profil in der internationalen Museumslandschaft auch durch die singulären Bestände von Joseph Beuys, Dan Flavin, Donald Judd, Anselm Kiefer, Sigmar Polke, Arnulf Rainer oder Fred Sandback geprägt wird.

The German weekly newspaper DIE ZEIT highlighted a quote from Georg Baselitz in an interview on January 18, 2018, coinciding with his upcoming eightieth birthday. The article suggests Baselitz shows understanding for Trump and the AfD, a portrayal that seems sensationalized compared to the more nuanced documentaries aired recently, which depict him as a humorous and intriguing figure. He describes himself as "incredibly sentimental" about his older works and admits to feeling nervous during new exhibitions. In conjunction with the exhibition at Contemporary Fine Arts in Berlin, Siegfried Gohr's text, "Hommage à Georg Baselitz," offers a meticulous and analytical exploration of Baselitz's oeuvre and career. Gohr's writing outlines the artist's significant contributions to art history, emphasizing Baselitz's status as one of Germany's great artists, particularly in light of his recent remix phase. The text elegantly reflects on the importance of both an old leather armchair and Baselitz's self-imposed outsider role, alongside his innovative pictorial inventions. The exhibition runs from January 23 to March 3, 2018, at Contemporary Fine Arts in Berlin.

In 1965/66 Georg Baselitz created the monumental series "The Heroes" and "New Types", which he presented in wild colour and with defiant style. By turning his attention towards the tradition of representational painting his work formed a striking contrast to the trends towards abstraction and Expressionism prevailing during the 1960s, thereby embarking on his own unique path. In his sceptical basic attitude towards post-war Germany Baselitz (* 1938) emphasised in his works the ambivalent aspects of the present in which he lived. His "Heroes" appear correspondingly contradictory with their military fatigues in tatters, their failure as deeply engraved as their resignation. The contrast to the success story of Western Germany's economic miracle could hardly be more sharply defined, but there is more at stake: with this group of works the artist reflected his own position in relation to society. It was the artist's self-assertion and determination of identity that were at stake and that Baselitz formulated so forcefully.

Anselm Wagner’s engaging essay offers a satirical exploration of the artistic vision of German painter Georg Baselitz, particularly focusing on his latest series, »Sigmund's Cave«. The title hints at a compelling narrative involving Sigmund Freud, who, at 82, faced house arrest by the Gestapo and battled cancer. Alongside his daughter Anna, Freud translated a French book about a chow-chow dog that endured similar health struggles, ultimately achieving a happy ending that Freud himself did not. The book originated from Marie Bonaparte, Freud's patient and patron, who aided his family's emigration. The Freud family's relationship with dogs is complex; Freud had three chow-chows while Anna owned a German shepherd. Wagner notes that dogs symbolize an idyllic existence, free from cultural burdens, yet Freud's psychoanalysis is rooted in a materialist tradition akin to the Cynics, who rejected societal norms. Baselitz, also a dog owner, typically paints conventional subjects like landscapes and portraits, but he incorporates playful elements into his dog portraits, such as a "hole" and cloud patterns resembling anatomical features. This blend of mischief and traditional themes characterizes Baselitz's work. The exhibition was held at CFA Contemporary Fine Arts Berlin from 1/10 to 14/11/2015.

Georg Baselitz zählt zu den bedeutendsten zeitgenössischen deutschen Künstlern, bekannt für seine auf den Kopf gestellten Motive, die seit seiner ersten Bildumkehr 1969 prägend sind. Doch sein Werk ist weit mehr als nur dieser Wiedererkennungswert. In über 40 Jahren künstlerischer Tätigkeit zeigt sich die facettenreiche Entwicklung seines Schaffens in über 100 Abbildungen von Schlüsselwerken. Baselitz zeichnet sich nicht nur durch motivische Wandlungsfähigkeit, sondern auch durch großes handwerkliches Können und komprimierten Ausdruck aus. Der Band dokumentiert seine Entwicklung von den frühen Arbeiten der 1960er Jahre, die die Nachkriegszeit reflektieren, über die Frakturbilder und die Umkehrung des Motivs bis hin zu den Arbeiten der Remix-Gruppe, die sich mit seinem Frühwerk beschäftigen. Diese Sammlung bietet eine lebendige Lektion über Malerei und Bildhauerei. Baselitz, 1938 als Hans-Georg Kern geboren, siedelte 1958 in den Westen über. Seine erste Einzelausstellung endete 1963 mit einem Skandal, als zwei Bilder beschlagnahmt wurden. Seitdem hat er eine beispiellose Karriere gemacht, mit bedeutenden Serien wie den Frakturbildern und Heldenbildern. Er lebt heute am Ammersee in Bayern.