COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0005339
image_record_id
aahi0005339
Image Record ID
false
Work Title (display):
Hockender Weiblicher
Image Title:
full view
Work Dates (display):
1977
Work Dates type:
creation
Image Date (display):
2009-10-01
Work Creator (display):
Georg Baselitz (German, born 1938)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
German painter, draughtsman, printmaker and sculptor. After attending grammar school in Kamenz, near Dresden, he began studying painting at the Hochschule für Bildende Künste in East Berlin in 1956 but was expelled after one term because of 'socio-political immaturity'. After moving to West Berlin in 1956, at which time he took a new surname reflecting his place of birth, he resumed his studies in 1957 at the Hochschule der Bildenden Künste in West Berlin; in 1961 he became a post-graduate student under Hann Trier, completing his studies in 1962. He became interested in literature and in the theoretical writings of painters such as Kandinsky, Malevich and Ernst Wilhelm Nay. His intensive reading of the works of Friedrich Nietzsche, Charles Baudelaire, the Comte de Lautréamont, Antonin Artaud, Stefan George, Gottfried Benn and Samuel Beckett had a great influence on his early work. After moving to West Berlin Baselitz became closely associated with two other painters from East Germany, A. R. Penck and especially eugen Schönebeck, with whom he held his first exhibition in 1961. Together he and Schönebeck published a manifesto entitled Pandämonium on this occasion, followed by a second version in 1962 in connection with another joint exhibition. Even in his early work of the late 1950s and early 1960s Baselitz rebelled against the dominance of abstract painting, proposing in its place a very personal, expressive figurative art rooted in the art brut and psychotic art produced by the mentally ill and others at odds with society. The imagery in these early works, symbolic of the body and its organs and of sexual obsessions, borders on the traumatic. The most important picture of this phase of his development, The Great Piss-up (oil on canvas, 2.5×1.8 m, 19623; Cologne, Mus. Ludwig), was confiscated as immoral when it was first exhibited in West Berlin in 1963; it shows a naked man holding an exaggeratedly large penis, with another nude figure doubled over on the floor behind him. In 1965 Baselitz was awarded a scholarship for a year's residential study at the Villa Romana in Florence. In 1966 he moved from Berlin to Osthofen, near Worms, and from there in 1971 to Forst an der Weinstrasse. From the mid-1960s he concentrated on several figure types'heroes', 'rebels' and 'shepherds'sometimes portrayed as scarred or wounded but presented in a stylized form as modern heroes, as people from a mythical land beyond our questionable civilization. These complete pictures, rich in their spiritual and historical overtones, culminated in the Great Friends (oil on canvas, 2.5×3.0 m, 1965; Vienna, Mus. 20. Jhts), in which two standing figures, larger than life, are shown against a black wilderness. They were followed by compositions in which the image was divided into strips shown side by side in different combinations as in Kullervo's Feet (1.62×1.30 m, 1967; see London exh. cat., 19834, p. 39). Using this dismemberment of the subject as a first stage in the disruption of its legibility, Baselitz began to play down the importance of subject-matter and to emphasize in its place the underlying pictorial structure. From 1969 Baselitz painted his subjects upside down, as in the Forest on its Head (2.5×1.9 m, 1969; Cologne, Mus. Ludwig), seeing in this method the possibility of stressing the realization of the motif as a painted surface and the form as his primary concern. While making use of elements familiar from his earlier pictures, he now made them subservient to the physical and pictorial properties of the medium itself, not only in paintings such as Elke Nude (1977; Eindhoven, Stedel. Van Abbemus.; see fig.) but also in his drawings, etchings and woodcuts. After moving in 1975 to Derneburg, near Hildesheim, Baselitz served as professor of painting at the Staatliche Akademie der Bildenden Künste in Karlsruhe (197782) and at the Hochschule der Bildenden Künste in West Berlin (19838); he divided his time during these years between Derneburg and Imperia on the Italian Riviera. Although he continued to present the medium itself as his primary vehicle of expression, in the 1980s he again gave greater weight to subject-matter, for example in variations on compositions by Munch or in reworkings of Christian iconography. Painter with Sailing Ship (Munch) (2.5×2.0 m, 1982; see London exh. cat., 19834, p. 17) is one of several portraits of Munch made at this time. In these reinterpretations, however, the densely worked surface and monumentality of form are even more marked than in his earlier work. This association of explosive iconography with a virtually abstract painterly technique is impressively brought to bear in the two paintings of 1983 dedicated to Die Brücke, the group of Expressionist painters based in Dresden in the early 20th century: Supper in Dresden (Zurich, Ksthaus) and the Brücke Choir (New York, Emily and Jerry Spiegel priv. col.). In 1979 Baselitz began work on his first monumental sculptures in wood, for which he employed an elemental and deliberately unpolished technique that gave his figures and heads an archetypal forcefulness. One of the earliest of these, Model for a Sculpture (painted limewood, 1980; see London exh. cat., 19834, p. 17), exhibited at the Venice Biennale in 1980, represents a human torso as if rising from the block of wood resting on the ground. Like Kirchner before him, he exploited the directness and freedom from verisimilitude of African sculpture to arrive at an expressive power inextricably related to the laying bare of the methodical nature of the creative process. He continued to produce isolated examples of such sculptures at fairly long intervals while continuing to extend his range as a draughtsman and printmaker, for example in a series of monumental woodcuts such as Drinker/Head with Bottle (1000×785 mm, 1981; see Gohr, p. 150). Having worked for many years against the mainstream of contemporary art, by the 1980s he had established an international reputation through his influence on the young German Neo-Expressionist painters referred to in Germany as the 'Neue Wilden'. (Grove Art Online accessed 2006-07-26)
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Subject:
brush strokes
subject
brush strokes
Work Subject
false
Work Subject:
textures
subject
textures
Work Subject
false
Work Subject:
form (aesthetics)
subject
form (aesthetics)
Work Subject
false
Work Subject:
inversion (symbolic)
subject
inversion (symbolic)
Work Subject
false
Work Subject:
color
subject
color
Work Subject
false
Work Subject:
figures
subject
figures
Work Subject
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Worktype:
watercolor paintings
work_type
watercolor paintings
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
ink and watercolor on paper
Work Measurements (display):
47.8 cm (H) x 62.2 xm (W)
Work Location (Repository or Site) name:
Art Basel 37
Work Location (Repository or Site) role:
exhibition
Work Location (Geographic) name:
Miami Beach, Florida
Image Source Reproduction citation:
Basel, Art. Art 31 Basel. Ostfildern, Germany: Hatje Cantz Verlag, 2006.
image_source_copy_from_print_name
Basel, Art. Art 31 Basel. Ostfildern, Germany: Hatje Cantz Verlag, 2006.
Image Source Reproduction citation
false
Image Source Reproduction refid:
3-7757-1730-7
Image Source Reproduction page number:
211
Image Source Reproduction plate-figure number:
bottom
Image Source Reproduction refid type:
ISBN
Image Rights (display):
© Georg Baselitz
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
© Georg Baselitz
Terms of Agreement and Conditions of Use:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
CU Copyright Statement:
The contents of the University of Colorado Digital Library are available for your use in research, teaching, and private study. Some of these items are protected by the U.S. Copyright Law (Title 17, U.S.C.) and some items may have additional restrictions. If you use the items in this collection, make sure you abide by any restrictions stated in the descriptive data window. The nature of these collections often makes it difficult to determine the copyright status of an item. We have made every effort to provide information about copyright owners and other restrictions in the descriptive data window. Ultimately, however, it is your responsibility to use the item according to the terms governing its use. If you are a copyright holder and the information is either not listed or listed incorrectly, please let us know so that we can update the information on our site.
Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Collection
Collection info and contact:
For information about this collection, see