Installation view
Artwork © Georg Baselitz. Photo: Annik Wetter
Installation view
Artwork © Georg Baselitz. Photo: Annik Wetter
Installation view
Artwork © Georg Baselitz. Photo: Annik Wetter
Georg Baselitz
Untitled, 2015
Ink pen and india ink on paper, in 2 parts; overall, framed: 34 ⅛ × 49 ⅝ inches (86.6 × 126.2 cm)
© Georg Baselitz 2015. Photo: Jochen Littkemann, Berlin
Georg Baselitz
Untitled, 2015
Ink pen and watercolor on paper, in 2 parts; overall, framed: 34 ⅛ × 49 ⅝ inches (86.6 × 126.2 cm)
© Georg Baselitz 2015. Photo: Jochen Littkemann, Berlin
Georg Baselitz
Untitled, 2015
Ink pen, watercolor on paper, and india ink on paper, in 2 parts; overall, framed: 34 ⅛ × 49 ⅝ inches (86.6 × 126.2 cm)
© Georg Baselitz 2015. Photo: Jochen Littkemann, Berlin
A drawing is always naked.
—Georg Baselitz
Gagosian Geneva is pleased to present recent drawings by Georg Baselitz.
Drawing has always been central to Baselitz’s art. Parallel to his cerebral yet impassioned paintings and roughly hewn sculptures, the practice of drawing is a test site for assimilation and disorientation in his oeuvre. In a new series of two-part ink drawings, Baselitz is “visited” by Katsushika Hokusai (1760–1849), whose exquisitely controlled color woodblock prints epitomized the refined ukiyo-e genre in Japanese art and persist in the popular imagination today.
In each diptych, Baselitz pairs reconsidered motifs from his own work with iterations—in ink with blue, yellow, or green watercolor washes—of an intimate late work by Hokusai, a wry self-portrait sketched at the end of a letter to his print publisher in 1842. The letter accompanied a group of prints made forty years earlier, which the Japanese master described to his publisher as repetitive, unresolved, and immature. He signed it with his pseudonym of the day: “Sincerely yours, the eighty-three-year-old Hachiemon.”
On the occasion of Baselitz: AVANTI! at the Museo Novecento in Florence, Italy, Holly EJ Black considers the roots and reverberations of Georg Baselitz’s printmaking.
In conjunction with the exhibition The Painter in His Bed, at Gagosian, New York, Georg Baselitz and Richard Calvocoressi discuss the motif of the stag in the artist’s newest paintings.
On the occasion of Georg Baselitz: Archinto at Museo di Palazzo Grimani, Venice, Artcore Films produced a short documentary featuring the artist. In the video, Baselitz details the origins of the project, how he approached the unique space, and his experiments in process and technique.
Richard Calvocoressi visits Georg Baselitz’s retrospective exhibition at the Centre Pompidou in Paris and reflects on both the historical specificity and timeless themes of the artist’s sixty-year career.
In celebration of five recent projects related to Georg Baselitz, Richard Calvocoressi, Max Hollein, and Katy Siegel speak with the artist and look at his prolific career.
The Fall 2021 issue of Gagosian Quarterly is now available, featuring Damien Hirst’s Reclining Woman (2011) on its cover.
Richard Calvocoressi narrates a tour of an exhibition of new paintings by Georg Baselitz in San Francisco, describing the visual effect of these luminous compositions and explaining their relationship to earlier works by the artist.
On the occasion of Georg Baselitz: Years later at Gagosian, Hong Kong, Zeng Fanzhi composed a written foreword for the exhibition’s catalogue and a video message to the German painter. Baselitz wrote a letter of thanks to the Chinese artist for his insightful thoughts.
Richard Calvocoressi writes on the painter’s latest bodies of work, detailing the techniques employed and their historical precedents.
The Summer 2020 issue of Gagosian Quarterly is now available, featuring Joan Jonas’s Mirror Piece 1 (1969) on its cover.
On the occasion of a career-spanning exhibition at the Gallerie dell’Accademia, Venice, Richard Calvocoressi tracks the evolution of Georg Baselitz’s development from his early education in East Germany to his revelatory trip to Florence, in 1965, and beyond.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.
Georg Baselitz speaks with Sir Norman Rosenthal on the subject of his latest work. The two discuss these paintings, all depictions of self-portraits by artists from the past and present, and what it means to pay homage.
Morgan Falconer visits the artist’s studio outside Munich to learn more about his newest paintings, a series entitled Devotion.
The Spring 2019 issue of Gagosian Quarterly is now available, featuring Red Pot with Lute Player #2 by Jonas Wood on its cover.
