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Georg Baselitz

Georg Baselitz, Die große Nacht im Eimer (The Big Night Down the Drain), 1962–63 Oil on canvas, 98 ½ × 70 ⅞ inches (250 × 180 cm), Museum Ludwig, Cologne© Georg Baselitz

Georg Baselitz, Die große Nacht im Eimer (The Big Night Down the Drain), 1962–63

Oil on canvas, 98 ½ × 70 ⅞ inches (250 × 180 cm), Museum Ludwig, Cologne
© Georg Baselitz

Georg Baselitz, Bonjour Monsieur Courbet, 1965 Oil on canvas, 63 ¾ × 51 ¼ inches (162 × 130 cm)© Georg Baselitz 2018. Photo: Ulrich Ghezzi

Georg Baselitz, Bonjour Monsieur Courbet, 1965

Oil on canvas, 63 ¾ × 51 ¼ inches (162 × 130 cm)
© Georg Baselitz 2018. Photo: Ulrich Ghezzi

Georg Baselitz, Untitled, 1967 Woodcut on paper, 14 ⅞ × 12 ⅜ inches (38 × 31.5 cm)© Georg Baselitz

Georg Baselitz, Untitled, 1967

Woodcut on paper, 14 ⅞ × 12 ⅜ inches (38 × 31.5 cm)
© Georg Baselitz

Georg Baselitz, Ralf W. - Penck - Kopfbild (Ralf W. - Penck - Head Painting), 1969 Oil on canvas, 63 ¾ × 51 ¼ inches (162 × 130 cm)© Georg Baselitz

Georg Baselitz, Ralf W. - Penck - Kopfbild (Ralf W. - Penck - Head Painting), 1969

Oil on canvas, 63 ¾ × 51 ¼ inches (162 × 130 cm)
© Georg Baselitz

Georg Baselitz, Kahlschlag (Clearcutting), 1970 Oil and acrylic on canvas, 55 ⅛ × 78 ¾ inches (140 × 200 cm)© Georg Baselitz

Georg Baselitz, Kahlschlag (Clearcutting), 1970

Oil and acrylic on canvas, 55 ⅛ × 78 ¾ inches (140 × 200 cm)
© Georg Baselitz

Georg Baselitz, Der Falke (The Falcon), 1971 Oil and acrylic on canvas, 70 ⅞ × 66 ⅞ inches (180 × 170 cm)© Georg Baselitz

Georg Baselitz, Der Falke (The Falcon), 1971

Oil and acrylic on canvas, 70 ⅞ × 66 ⅞ inches (180 × 170 cm)
© Georg Baselitz

Georg Baselitz, Fingermalerei - Akt (Finger Painting - Nude), 1972 Oil on canvas, 78 ¾ × 63 ¾ inches (200 × 162 cm)© Georg Baselitz

Georg Baselitz, Fingermalerei - Akt (Finger Painting - Nude), 1972

Oil on canvas, 78 ¾ × 63 ¾ inches (200 × 162 cm)
© Georg Baselitz

Georg Baselitz, Schlafzimmer (Bedroom), 1975 Oil and charcoal on canvas, 98 ½ × 78 ¾ inches (250 × 200 cm)© Georg Baselitz

Georg Baselitz, Schlafzimmer (Bedroom), 1975

Oil and charcoal on canvas, 98 ½ × 78 ¾ inches (250 × 200 cm)
© Georg Baselitz

Georg Baselitz, Birnbaum II (Pear Tree II), 1980 Oil, egg tempera, and asphalt on canvas, 98 ½ × 78 ¾ inches (250 × 200 cm)© Georg Baselitz

Georg Baselitz, Birnbaum II (Pear Tree II), 1980

Oil, egg tempera, and asphalt on canvas, 98 ½ × 78 ¾ inches (250 × 200 cm)
© Georg Baselitz

Georg Baselitz, Die Mädchen von Olmo II (The Girls from Olmo II), 1981 Oil on canvas, 98 ½ × 98 ⅛ inches (250 × 249 cm), Musée National d’Art Moderne, Centre Georges Pompidou, Paris© Georg Baselitz

Georg Baselitz, Die Mädchen von Olmo II (The Girls from Olmo II), 1981

Oil on canvas, 98 ½ × 98 ⅛ inches (250 × 249 cm), Musée National d’Art Moderne, Centre Georges Pompidou, Paris
© Georg Baselitz

Georg Baselitz, Orangenesser (IX) (Orange Eater [IX]), 1981 Oil and tempera on canvas, 57 ½ × 44 ⅞ inches (146 × 114 cm)© Georg Baselitz, 2018. Photo: Friedrich Rosenstiel, Köln

Georg Baselitz, Orangenesser (IX) (Orange Eater [IX]), 1981

Oil and tempera on canvas, 57 ½ × 44 ⅞ inches (146 × 114 cm)
© Georg Baselitz, 2018. Photo: Friedrich Rosenstiel, Köln

Georg Baselitz, Dresdner Frauen (Women of Dresden), 1989–90 Wood and tempera, installation dimensions variable© Georg Baselitz

Georg Baselitz, Dresdner Frauen (Women of Dresden), 1989–90

Wood and tempera, installation dimensions variable
© Georg Baselitz

Georg Baselitz, Meine neue Mütze (My New Hat), 2003 Cedar and oil paint, 122 ¼ × 32 ⅞ × 42 ⅛ inches (310.5 × 83.5 × 107 cm), Essl Collection, Klosterneuburg, Austria© Georg Baselitz

Georg Baselitz, Meine neue Mütze (My New Hat), 2003

Cedar and oil paint, 122 ¼ × 32 ⅞ × 42 ⅛ inches (310.5 × 83.5 × 107 cm), Essl Collection, Klosterneuburg, Austria
© Georg Baselitz

Georg Baselitz, Franz Pforr Ganz Groß (Remix) (Franz Pforr Very Big [Remix]), 2006 Oil on canvas, 118 ⅛ × 157 ½ inches (300 × 400 cm)© Georg Baselitz

Georg Baselitz, Franz Pforr Ganz Groß (Remix) (Franz Pforr Very Big [Remix]), 2006

Oil on canvas, 118 ⅛ × 157 ½ inches (300 × 400 cm)
© Georg Baselitz

Georg Baselitz, Louise Fuller, 2013 Patinated bronze, 137 ⅞ × 50 ⅞ × 46 ⅞ inches (350 × 129 × 119 cm), edition of 6 + 2 AP© Georg Baselitz

Georg Baselitz, Louise Fuller, 2013

Patinated bronze, 137 ⅞ × 50 ⅞ × 46 ⅞ inches (350 × 129 × 119 cm), edition of 6 + 2 AP
© Georg Baselitz

Georg Baselitz, Greenberg grient (Greenberg grins), 2013 Oil on canvas, 118 ⅛ × 108 ¼ inches (300 × 275 cm)© Georg Baselitz

Georg Baselitz, Greenberg grient (Greenberg grins), 2013

Oil on canvas, 118 ⅛ × 108 ¼ inches (300 × 275 cm)
© Georg Baselitz

Georg Baselitz, Immer noch unterwegs (Still on the Road), 2014 Oil on canvas, 118 ⅛ × 157 ½ inches (300 × 400 cm)© Georg Baselitz

Georg Baselitz, Immer noch unterwegs (Still on the Road), 2014

Oil on canvas, 118 ⅛ × 157 ½ inches (300 × 400 cm)
© Georg Baselitz

Georg Baselitz, Untitled, 2015 Ink pen, watercolor, and India ink on paper, left: 26 ⅛ × 20 inches (66.3 × 50.8 cm), right: 26 ⅛ × 20 ⅛ inches (66.2 × 50.9 cm)© Georg Baselitz

Georg Baselitz, Untitled, 2015

Ink pen, watercolor, and India ink on paper, left: 26 ⅛ × 20 inches (66.3 × 50.8 cm), right: 26 ⅛ × 20 ⅛ inches (66.2 × 50.9 cm)
© Georg Baselitz

Georg Baselitz, Untitled, 2015 India ink pen and India ink on paper mounted on canvas, 130 ⅜ × 58 ½ inches (331 × 148.5 cm)© Georg Baselitz

Georg Baselitz, Untitled, 2015

India ink pen and India ink on paper mounted on canvas, 130 ⅜ × 58 ½ inches (331 × 148.5 cm)
© Georg Baselitz

Installation view of Avignon (2014) by Georg Baselitz at Biennale di Venezia, Venice, May 9–November 22, 2015 © Georg Baselitz

Installation view of Avignon (2014) by Georg Baselitz at Biennale di Venezia, Venice, May 9–November 22, 2015

© Georg Baselitz

Georg Baselitz, Lieber Marcel Duchamp, das haben sie doch von Picasso gestohlen! (Dear Marcel Duchamp, You Stole That from Picasso!), 2016 Oil on canvas, 161 ½ × 120 ⅛ inches (410 × 305 cm)© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

Georg Baselitz, Lieber Marcel Duchamp, das haben sie doch von Picasso gestohlen! (Dear Marcel Duchamp, You Stole That from Picasso!), 2016

Oil on canvas, 161 ½ × 120 ⅛ inches (410 × 305 cm)
© Georg Baselitz 2016. Photo: Jochen Littkemann, Berlin

About

This idea of “looking toward the future” is nonsense. I realized that simply going backwards is better. You stand in the rear of the train—looking at the tracks flying back below—or you stand at the stern of a boat and look back—looking back at what’s gone.
—Georg Baselitz

German painter, printmaker, and sculptor Georg Baselitz is a pioneering Neo-Expressionist who rejected abstraction in favor of recognizable subject matter, deliberately employing a raw style of rendering and a heightened palette in order to convey direct emotion. Embracing the German Expressionism that had been denounced by the Nazis, Baselitz returned the human figure to a central position in painting.

Born Hans-Georg Kern in Deutschbaselitz, Saxony, Germany, Baselitz attended the Hochschule für Bildende und Angewandte Kunst in East Berlin, from which he was expelled in 1957 for “sociopolitical immaturity.” He then moved to West Berlin, where he attended the Hochschule der Künste and completed his postgraduate studies in 1962. It was during this time that he changed his surname to Baselitz. From his youth, Baselitz had been interested in the German Expressionists’ use of “primitive” sources such as folk art, children’s art, and art of the mentally ill. To assert his independence from popular art of the postwar years, Baselitz and fellow artist Eugen Schönebeck wrote the manifesto “Pandemonium” (1960–62), a violent and shocking expression of the frustration of working in postwar Germany. In 1963 Baselitz had his first solo exhibition, which was an immediate scandal: the painting Die große Nacht im Eimer (Big Night Down the Drain, 1962–63), depicting a distorted figure holding an oversized phallus, was removed from the exhibition due to charges of obscenity and not returned to Baselitz until the conclusion of a lengthy trial. In 1965 Baselitz turned to the subject of “heroes.” Painted in thick impasto, the Helden (Heroes, 1965–66)—also known as the Neue Typen (New Types or New Guys)—portray men standing within natural landscapes. Disheveled and fragmented, these war-torn figures elicit an emotional response in the viewer as they evoke the events of recent history.

In 1969 Baselitz began to paint and display his subjects upside down in order to slow down his process of painting as well as the viewer’s comprehension of the motif. These iconic paintings, depicting inverted figures, landscapes, and still lifes, achieve a form of abstraction while maintaining figuration. Through the 1980s, his work took on an added density as he further employed a wide range of formal and historical references, including the paintings of Edvard Munch and Emil Nolde. Concurrently, he began creating large-scale sculptures made of painted wood, presenting these works for the first time at the 1980 Biennale di Venezia, where he showed Modell fur eine Skulptur (Model for a Sculpture, 1979–80).

The paintings that Baselitz produced between 1990 and 2010 marked another shift in his practice, displaying a more linear and abstract approach to the figure. In the Remix series (2005–08), Baselitz revisited his earlier works, graphically re-presenting his prior subjects such that their subtle meanings and technical innovations were made more explicit. In 2015 Baselitz’s Avignon paintings—a suite of eight towering nude self-portraits—were featured in the Biennale di Venezia. The following year related self-portraits with spectral figures were presented at Gagosian, West 21st Street, New York. In 2017–18 a large retrospective of Baselitz’s work was presented at the Fondation Beyeler, Riehen, Switzerland, and at the Hirshhorn Museum and Sculpture Garden, Washington, DC.

Georg Baselitz

Photo: Elke Baselitz

Fairs, Events & Announcements

Jeff Koons, Sacred Heart (Magenta/Gold), 1994–2007 © Jeff Koons

Art Fair

Art Basel

June 13–16, 2019, booth C9
Messe Basel
www.artbasel.com

Gagosian is pleased to participate in Art Basel, presenting works by Georg Baselitz, Joe Bradley, Alexander Calder, Willem de Kooning, Urs Fischer, Ellen Gallagher, Alberto Giacometti, Katharina Grosse, Mark Grotjahn, Jeff Koons, Man Ray, Albert Oehlen, Pablo Picasso, Richard Prince, Ed Ruscha, Richard Serra, Andy Warhol, Mary Weatherford, Tom Wesselmann, and Franz West, among others.

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at artbasel.com.

Jeff Koons, Sacred Heart (Magenta/Gold), 1994–2007 © Jeff Koons

Installation view, A line (a)round an idea: Selected Works on Paper, Gagosian, Geneva, May 2–July 27, 2019. Artwork, left to right: © Cy Twombly Foundation; © 2019 Richard Artschwager/Artists Rights Society (ARS), New York; © 2019 The Franz Kline Estate/Artists Rights Society (ARS), New York; © Richard Serra; © 2019 Dedalus Foundation, Inc./Licensed by VAGA at Artists Rights Society (ARS), New York

Tour

A line (a)round an idea
Selected Works on Paper

Saturday, June 22, 2019, 11am
Gagosian, Geneva

This event has been canceled.

Join us for a tour of A line (a)round an idea at Gagosian, Geneva. The exhibition, which presents black-and-white works on paper spanning a period of seventy years, includes work by Richard Artschwager, Georg Baselitz, Bruce Conner, Willem de Kooning, Günther Förg, Sam Francis, Keith Haring, Christine Hiebert, Hans Hofmann, Franz Kline, Brice Marden, Henri Matisse, Robert Motherwell, Ad Reinhardt, Richard Serra, Cy Twombly, Andy Warhol, Tom Wesselmann, and others. Gagosian’s Johan Nauckhoff will give an overview of the exhibition, focusing on ways in which modern and contemporary artists have explored the clarity and activating power of the simple line, mark, splatter, or stroke. To attend the free event, RSVP to genevatours@gagosian.com. Space is limited.

Installation view, A line (a)round an idea: Selected Works on Paper, Gagosian, Geneva, May 2–July 27, 2019. Artwork, left to right: © Cy Twombly Foundation; © 2019 Richard Artschwager/Artists Rights Society (ARS), New York; © 2019 The Franz Kline Estate/Artists Rights Society (ARS), New York; © Richard Serra; © 2019 Dedalus Foundation, Inc./Licensed by VAGA at Artists Rights Society (ARS), New York

Rembrandt van Rijn, Self-Portrait with Two Circles, c. 1665, English Heritage, The Iveagh Bequest (Kenwood, London). Photo: Historic England Photo Library

Tour

Visions of the Self: Rembrandt and Now
In partnership with English Heritage

Thursday, April 25, 2019, 6pm
Gagosian, Grosvenor Hill, London

Gagosian director and art historian Richard Calvocoressi will lead a tour of the exhibition Visions of the Self: Rembrandt and Now at Gagosian, Grosvenor Hill, London. Calvocoressi will take a look at postwar and contemporary masters of self-representation, anchoring the conversation to an important Rembrandt masterpiece included in the exhibition, Self-Portrait with Two Circles (c. 1665). The event has reached capacity. To join the wait list, contact londontours@gagosian.com.

Rembrandt van Rijn, Self-Portrait with Two Circles, c. 1665, English Heritage, The Iveagh Bequest (Kenwood, London). Photo: Historic England Photo Library

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Museum Exhibitions

Georg Baselitz, Schlafzimmer (Bedroom), 1975 © Georg Baselitz. Photo: Jochen Littkemann

On View

Baselitz – Academy

Through September 8, 2019
Gallerie dell’Accademia, Venice
www.gallerieaccademia.it

Baselitz – Academy, a major retrospective of works by Georg Baselitz curated by Kosme de Barañano, is the first exhibition by a living artist at the Gallerie dell’Accademia in Venice. The exhibition traces the critical junctures in the artist’s extraordinary sixty-year career through paintings, drawings, prints, and sculptures, including rarely seen works exploring the artist’s relationship with Italy and the academic tradition. Two monumental works created specifically for this show are also on view. This is a Collateral Event of the 58th International Art Exhibition La Biennale di Venezia, organized with support from Gagosian.

Georg Baselitz, Schlafzimmer (Bedroom), 1975 © Georg Baselitz. Photo: Jochen Littkemann

Emilio Vedova and Georg Baselitz at documenta 7, Kassel, Germany, 1982. Photo: Benjamin Katz

On View

Emilio Vedova di/by Georg Baselitz

Through November 3, 2019
Fondazione Emilio e Annabianca Vedova, Venice
www.fondazionevedova.org

To celebrate the centenary of the birth of Emilio Vedova, Georg Baselitz has curated an exhibition of works by the Italian artist. The show presents two series of black-and-white works on canvas that mark significant moments in Vedova’s long and complex artistic career.

Emilio Vedova and Georg Baselitz at documenta 7, Kassel, Germany, 1982. Photo: Benjamin Katz

Georg Baselitz, Ach rosa, ach rosa, 2015 © Georg Baselitz 2018. Photo: Jochen Littkemann, Berlin

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Corpus Baselitz

June 10–November 4, 2018
Musée Unterlinden, Colmar, France
www.musee-unterlinden.com

Corpus Baselitz marks the first exhibition in a French museum of a new and significant body of work by Georg Baselitz. The show consists of paintings, drawings, and sculptures, all created between 2014 and 2017, in which the artist examines his own body, and through it, his place in the history of art.

Georg Baselitz, Ach rosa, ach rosa, 2015 © Georg Baselitz 2018. Photo: Jochen Littkemann, Berlin

Georg Baselitz, Lehr nich ratte much wilm (Lelf bal wile), 2013 © Georg Baselitz 2018

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Counterpoint
Selections from the Peter Marino Collection

July 28–September 23, 2018
Southampton Arts Center, New York
southamptonartscenter.org

In 1978 Peter Marino acquired an artwork from Andy Warhol. Since then, the Peter Marino Collection has grown to encompass hundreds of paintings and mixed-media pieces representing some of the most notable artists of today. Work by Georg Baselitz, Glenn Brown, Damien Hirst, Anselm Kiefer, Richard Prince, and Andy Warhol is included.

Georg Baselitz, Lehr nich ratte much wilm (Lelf bal wile), 2013 © Georg Baselitz 2018

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Press

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