Georg Baselitz Libros

Book by Siegfried Gohr, St. Louis Art Museum, Jack Cowart

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.

Georg Baselitz paints violent and distinctive imagery that is reminiscent stylistically of both German and American Expressionism. This title explores his development, revealing an artist whose concerns are derived from his experiences of post-war German society.

Text mainly consists of correspondence between Strindberg and the artist and a biography of the artist (by Sten Åke Nilsson).

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 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.

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.