RIEHEN / BASEL

Georg Baselitz.
Hokusai, Remixe, an Indian tomb and "Soon this time will be over"?
Graphics, watercolours, drawings and a painting

19. January - 26. April 2018

  • Baselitz 1984 2A Ohne Titel 6X84 75146 02

     Georg Baselitz
    Ohne Titel (Hände). 6.X.84
    .
    Gouache 1984.
    Auf Papier. 65,5 x 47,7 cm. Unten rechts in Bleistift signiert (monogrammiert) und datiert.

    Obj.Id: 75146 

     

     

  • Baselitz 1986 4Z Ohne Titel 12IX86 03

    Georg Baselitz
    Ohne Titel. 12.IX.86
    .
    Kohle
    1986.
    Auf Papier. 61,3 x 86,1 cm. Unten in der Mitte in Bleistift signiert (monogrammiert) und datiert.

    Obj.Id: 75150

     

     

     

  • Baselitz 1990 4Z Ohne Titel 75155 02

    Georg Baselitz
    Ohne Titel.
    Auf Fabriano-Papier 100 x 70 cm. Unten links in Bleistift signiert. Unten rechts in Bleistift datiert.
    Tusche 1990.
    Obj.Id: 75155

  • Baselitz 2002 Indianergrab 5H 80307 02

    Georg Baselitz
    Indianergrab
    .
    Auf Papier. 201 x150 cm auf 228 x 170 cm. Auflage 6. Exemplar 3/6. Unten links in Bleistift nummeriert. Unten rechts in Bleistift signiert und datiert.
    Linolschnitt
    2002.
    Obj.Id: 80307

     

     

  • Baselitz 2002 La Nuit mit Marie 5H 80311 01

    Georg Baselitz
    La nuit mit Marie.  
    Linolschnitt 2002. Auf Papier. 202 x 150 cm auf 228 x 170 cm. Auflage 6.. Exemplar 2/6. Unten links in Blesitift nummeriert. Unten rechts in Bleistift signiert und datiert.
    Obj.Id: 80311   

  • Baselitz 2007 2A Ohne Titel ohne Titel  23. XI 2007 76782 02

    Georg Baselitz
    Ohne Titel, 23. XI 2007.
    Tuschfeder und Aquarell 2007.
    Signiert. 66 x 51 cm. Oben in der Mitte in Tusche signiert und datiert.
    Obj.Id: 76782 

     

     

     

     

  • Baselitz 2008 7L  65-Remix 76794 02

    Georg Baselitz
    '65 (Remix)
    .
    Farbholzschnitt 2008.
    Auf verschiedenfarbig grundiertem Japanpapier. Gedruckt im Atelier Till Varclas, Hamburg, Exemplar Nr. 4/12. 89,9 x 49,2 cm auf 124 x 70 cm. Unten links in Bleistift nummeriert. Unten rechts in Bleistift signiert und datiert.

    Obj.Id: 76794 

  • Baselitz 2017 Gartenbank 6R 80298 03

    Georg Baselitz
    Gartenbank.
    Strichätzung und Aquatinta 2017.
    Auf Papier. 100 x 66,5 cm auf 121 x 80,5 cm. Auflage 12. Exemplar 5/12. Unten links in Bleistift nummeriert. Unten rechts in Bleistift signiert und datiert.

    Obj.Id: 80298

  • Baselitz 2015 Besuch von Hokusai II 6R 80299 01

    Georg Baselitz
    Besuch von Hokusai II
    .
    Strichätzung und Aquatinta
    2015.
    Auf Papier. Eins von 66,3 x 49,5 cm und eins von 66,5 x 49,5 cm auf 85,5 x 118,5 cm. Auflage 10. Exemplar 9/10. Unten rechts in Bleistift nummeriert, signiert und datiert.

    Obj.Id: 80299
     

Georg Baselitz

Hokusai, Remix Works, A Red Indian’s Grave and “This Time Will Soon Be Over”?

Prints, Watercolours, Drawings and a Painting

19th January until 26th April 2018

 

Georg Baselitz, one of the internationally most renowned and most significant artists of our present day was born Georg Bruno Kern in Deutschbaselitz (Saxony) in 1938. He assumed his pseudonym, Georg Baselitz, which he derived from the name of his place of birth, in the early 1960s. He first studied painting in East Berlin at the Academy of Visual and Applied Art and then later in West Berlin at the Academy of Visual Arts, where he became a master student of Hann Trier. Georg Baselitz was the cause of much disapproval and a great many scandals during his studies: after only two terms he was expelled from the academy in East Berlin on the grounds of ‘socio-political immaturity’ and his first solo exhibition in West Berlin at the Werner & Katz Gallery was a scandal, two of his exhibited paintings having been confiscated by the public prosecutor’s office. Added to this were a great many artistic quirks that caused one sensation after another, the most famous and significant one being the turning of his motifs upside down through an angle of 180°, with the result that his paintings were in effect standing on their heads.

From December 2013 until April 2014 this great master of painting and sculpture was the “guest of Ernst Ludwig” at the Kirchner Museum in Davos. With his paintings, sculptures and drawings from the 1980s he staged a confrontation of Expressionist art from two completely different epochs. But there is something else, too, that these two artists have in common, namely the later working over of their own works. This manifested itself in Kirchner’s case in what he himself referred to as “restoration”. Here he would take the paintings that were still standing around in his studio and paint over them in the so-called “New Style”. Thus it was that works dating from the Dresden and Berlin years were “updated” to appeal to the then contemporary artistic taste of the 1930s. What had been finely nuanced parts of the paintings were now flat and bold and heavily contoured, while the depictions themselves were generally more tranquil.

For his part, Georg Baselitz created what he called Remix Works. Produced from 2005 onwards, these works made reference to Baselitz’s previous periods of creativity. He too worked over motifs that he had already painted before, but incorporated them in new works with new interpretations.

In 2010, with his “Bald ist diese Zeit vorbei” (“This Time Will Soon Be Over”), Georg Baselitz created a veritable masterpiece of this relatively late period of creativity. A dark pink female figure is seated on a blue chair. Her arms are folded, her legs crossed beneath her, her head turned in semi-profile. Ankle boots, which the viewer can make out at her feet, seem to be striding. At one side there is something blue standing on two legs. The depiction is upside down, turned through an angle of 180°, as are all the works of the artist at this time – this Baselitz trademark that has made him Internationally famous far beyond the borders of Germany. Everything is just intimated, more abstract than representational. There are no inner details or shading. All that is clearly defined are the contours where the pink and blue areas of the painting stand out against the surrounding white background. The brushwork is generous and features broad, swiftly executed strokes. The colour covers the white surface only very thinly, thus allowing the white ground to shine through. While the effect thus created is two-dimensional, depth is hardly discernible. Only the ankle boots, which are thinly outlined in black, create a slight impression of depth.

One cannot interpret the motif of “Bald ist diese Zeit vorbei” properly without knowing something about Baselitz’s early oeuvre, especially his painting titled “Akt Elke” (“Nude Elke”), which Baselitz painted in 1974.1 While this painting likewise stands upside down, it is altogether much more natural and more detailed. It is a homage to his own wife, Elke Kretschmaar, whom Baselitz had married in 1962 and to whom the painter had dedicated a whole series of paintings. In the painting “Akt Elke”, the female subject is likewise seated on a blue chair, posing in much the same way the female figure in “Bald ist diese Zeit vorbei”, her head turned to the side in semi-profile, looking out of the picture towards the viewer. Likewise behind her is a blue chest of drawers standing on a blue-black-and-white carpet. The wall behind it is yellow and the whole composition stands out against a white background. Here, too, the application of colour is flat and the painting is likewise dominated by swift brush strokes, while the inner details and shading are much more prominent, thus lending the painting a certain depth. Here the chest of drawers stands up against the wall, and in front of the chest of drawers stands the chair on which Elke is seated.

Both works are of large format. They both measure 250 cm in height and 200 cm in width. Both paintings feature a seated female figure in similar postures on a blue chair with something blue in the background. It may be safely assumed that “Bald ist diese Zeit vorbei” relates to Baseltz’s older work “Akt Elke” in spite of the fact that the former offers no clearly recognizable features that might substantiate this assumption. Whether the subject is one and the same person remains open to question.

Georg Baseliz’s works on paper are works of art in their own right, not preparatory sketches for paintings, for example. The depicted motifs are altogether matured representations that are mutually complementary. Drawings, watercolours, woodcuts and large-format linocuts have for decades accompanied Baselitz’s paintings and sculptures. Here, too, the motifs are mostly turned upside down.

Alexandra Henze Triebold

(Translation by John Brogden)

 

Your visit to our gallery could be complemented by a stroll through the wonderful exhibition halls of the Beyeler Foundation, which is located only a few hundred metres away from our gallery in Riehen. To mark Georg Baselitz’s 80th birthday the Foundation will be showing a comprehensive retrospective of the artist’s works. The above-mentioned work “Akt Elke” will also be on show in the exhibition, thus having made the aforementioned comparison readily possible in practice. A retrospective of the artist’s drawings and watercolours is being shown at the same time by the Kunstmuseum Basel. Thus it will be possible for you, as visitors, to view a comprehensive selection of works by Georg Baselitz here in Riehen and Basel between the months of January and April 2018.

 

 

1 We are indebted to Prof. Dr. Siegfried Gohr, Berlin, for this information.

Galerie Henze & Ketterer
Kirchstrasse 26, CH 3114 Wichtrach
Tel. +41 (0)31 781 06 01
Galerie Henze & Ketterer & Triebold
Wettsteinstrasse 4, CH 4125 Riehen
Tel. +41 (0)61 641 77 77