Georg Baselitz

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Baselitz prints Google

Large Head  Tate  combination monoprint and woodcut

Drinker  linocut

Female Nude on a Kitchen Chair   upside down large scratched out monochrome linocut 2021 x 1370 mm

Head  upside down woodcut

Eagle woodcut

Making Art after Auschwitz and Dresden

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From Wikipedia and Tate website

Georg Baselitz (born 23 January 1938) is a German painter. He studied in East Germany, before moving to what was then West Germany.  He is seen as a revolutionary painter as he draws the viewer’s attention to his works by making them think and sparking their interest. The subjects of the paintings don’t seem to be as significant as the work’s visual insight. Throughout his career, Baselitz has varied his style, ranging from layering substances to his style, since the 1990s, which focuses more on lucidity and smooth changes.

Baselitz first encountered art in albums of nineteenth-century pencil drawings in the school library. He also assisted nature photographer Helmut Drechsler on occasional ornithological shoots. At the ages of 14 and 15, he painted portraits, religious subjects, still lifes and landscapes, some in a futuristic style. In 1955, he applied to study at the Kunstakademie in Dresden but was rejected. In 1956 he studied painting under professors Walter Womacka and Herbert Behrens-Hangler, and befriended Peter Graf and Ralf Winkler (later known as A. R. Penck). After two semesters, he was expelled for “sociopolitical immaturity.” In 1957 he successfully applied for a place at West Berlin’s Hochschule der Künste and continued his studies in Professor Hann Trier’s class, a creative environment largely dominated by the gestural abstraction of Tachism and Art Informel, affecting a certain orientation towards Paris amongst both staff and students. He immersed himself in the theories of Ernst Wilhelm Nay, Wassily Kandinskyand Kasimir Malevich. During this time he became friends with Eugen Schönebeck and Benjamin Katz. Andreas Franzke gives his primary artistic influences at this time as Jackson Pollock and Philip Guston. Conversely, he argues that Baselitz found the work of Barnett Newman inaccessible, as well as that of Mark Rothko.

Even in his early work of the late 1950s and early 1960s Baselitz rebelled against the dominance of abstract painting.. The imagery in these early works, symbolic of the body and its organs and of sexual obsessions, borders on the traumatic.

From the mid 1960s he concentrated on several figure types, sometimes portrayed as scarred or wounded but presented in a stylised form as modern heroes, as people from a mythical land beyond our questionable civilisation.

His career was boosted in the 1960s after police took action against one of his paintings, (Die große Nacht im Eimer), because of its provocative, offending sexual nature.

Baselitz spent the spring of 1964 at Schloß Wolfsburg and produced his first etchings in the printing shop there, which were exhibited later that year. He produced a number of large-format pictures eg the “Foresters”/ “Waldarbeiter” pictures. In 1969, using Wermsdorfer Wald by Louis-Ferdinand von Rayski as a model, he paints his first picture to feature an inverted motif, “The Wood On Its Head”/ “Der Wald auf dem Kopf.”

In the 1970s, Baselitz was part of a group of Neo-Expressionist German artists, occasionally identified as “Neue Wilden,” focusing on deformation, the power of subject and the vibrancy of the colors. He became famous for his upside-down images, seeing in this method the possibility of stressing the realisation of the motif as a painted surface and the form as his primary concern.

After moving in 1975 to Derneburg, near Hildesheim, Baselitz served as professor of painting at the Staatliche Akademie der Bildenden Künste in Karlsruhe (1977–82) and at the Hochschule der Bildenden Künste in West Berlin (1983–8). Although he continued to present the medium itself as his primary vehicle of expression, in the 1980s he again gave greater weight to subject-matter.

In 1976, Baselitz set up an additional studio in Florence, which he used until 1981. In 1977, he began working on large-format linocuts.  From 1978 until 1980, he worked on diptychs using the tempera painting technique (combinations of motifs), multipart pictures (series of motifs), and large-format individual works such as “The Corn Gleaner”/ “Die Ährenleserin,” “Woman Clearing Away Rubble”/ “Trümmerfrau,” “Eagle”/ “Adler” and “Boy Reading”/ “Der lesende Knabe.” The works become more abstract, with scriptural elements predominating.

In 1979 Baselitz began work on his first monumental sculptures in wood, for which he employed an elemental and deliberately unpolished technique that gave his figures and heads an archetypal forcefulness. Having worked for many years against the mainstream of contemporary art, by the 1980s he had established an international reputation through his influence on the young German Neo-Expressionist painters referred to in Germany as the ‘Neue Wilden

Baselitz currently lives and works near Munich and in Imperia. He recently sold his castle in Derneburg.

His work was exhibited in London, at the Royal Academy of Arts in late 2007, and in the White Cube gallery in 2009.