Installation video
Installation view
Artwork © Georg Baselitz 2020. Photo: Martin Wong
Installation view
Artwork © Georg Baselitz 2020. Photo: Martin Wong
Installation view
Artwork © Georg Baselitz 2020. Photo: Martin Wong
Installation view
Artwork © Georg Baselitz 2020. Photo: Martin Wong
Installation view
Artwork © Georg Baselitz 2020. Photo: Martin Wong
Installation view
Artwork © Georg Baselitz 2020. Photo: Martin Wong
Installation view
Artwork © Georg Baselitz 2020. Photo: Martin Wong
Installation view
Artwork © Georg Baselitz 2020. Photo: Martin Wong
Georg Baselitz
Madame Demoisielle weit weg von der Küste (Madame Demoiselle a long way from the coast), 2019
Oil on canvas, 118 ⅞ × 168 ⅛ inches (302 × 427 cm)
© Georg Baselitz 2019. Photo: Jochen Littkemann
Georg Baselitz
Schwarz mit Ölfleck (Black with oil stain), 2019
Oil and painter’s gold varnish on canvas, 118 1⁄8 × 83 1⁄2 inches (300 × 212 cm)
© Georg Baselitz 2019. Photo: Jochen Littkemann
Georg Baselitz
Schatten ist nicht drin (Shadow doesn’t come into it), 2019
Oil and painter’s gold varnish on canvas, 118 1⁄8 × 68 1⁄2 inches (300 × 174 cm)
© Georg Baselitz 2019. Photo: Jochen Littkemann
Georg Baselitz
Da sind zwei Figuren im alten Stil (That’s two figures in the old style), 2019
Oil and painter’s gold varnish on canvas, 118 ⅛ × 83 ½ inches (300 × 212 cm)
© Georg Baselitz 2019. Photo: Jochen Littkemann
Georg Baselitz’s studio, Ammersee, Germany, 2019
Artwork © Georg Baselitz 2019. Photo: Ealan Wingate
Art is visceral and vulgar—it’s an eruption.
—Georg Baselitz
Gagosian is pleased to present Years later, an exhibition of new paintings and works on paper by Georg Baselitz. This is his first solo exhibition with the gallery in Hong Kong. Significantly, it is also the first exhibition to open to the public within our international network of galleries since the global COVID-19 lockdown. We are grateful to once again be able to present physical artworks in an exhibition conceived specifically for the Hong Kong gallery and its context, and we look forward to welcoming the public back to view and celebrate the work of a great living master.
An early pioneer of the Neo-Expressionist movement that had its origins in postwar Germany, Baselitz combines a vigorous and direct approach to art making with a sensitivity to art historical lineages. He counts Willem de Kooning and Philip Guston among his key influences, and is known for his uncompromising approach and critical stance. In 1969, he began to compose his images upside down to slow the processes of making, looking, and comprehending. Over the past fifty years, often referring to and reinterpreting his own body of work, he has further augmented his visual language with a range of formal and historical allusions yet has consistently returned to the human figure as his central motif.
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.
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.
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.
