COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000419
image_record_id
aahi0000419
Image Record ID
false
Work Title (display):
The Red Sea
Image Title:
full view
Work Dates (display):
1984-1985
Work Dates type:
creation
Work Creator (display):
Anselm Kiefer (German, born 1945)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
German painter. He studied law in 19656 at the Albert-Ludwigs-Universität in Freiburg, before starting to study art there in 1966 as a pupil of the painter Peter Dreher (b 1932). In 1969 he studied under Horst Antes at the Staatliche Akademie der Bildenden Künste in Karlsruhe, and in 1970 he moved to the Staatliche Kunstakademie in Düsseldorf, where he met Joseph Beuys. From this time onwards history and myth were the central themes in his work: he was not concerned with reviving the history painting; rather, he attempted by means of drawing and symbols to expose the many-layered quality of historical processes, in order 'to approach in an unscientific way the centre from which events are controlled' (Kiefer, Art, 1990). On a journey through Switzerland, Italy and France in 1969 Kiefer produced the photographic series Occupations (see 1991 exh. cat., pp. 934), in which he photographed himself saluting in a pose that imitated Hitler. In this and in later books he presented his personal way of coming to terms with German history, literature and art history. His central concern was to experience history as a prerequisite for understanding it. Following his move to Hornbach in the Odenwald in 1971 Kiefer produced his first large-scale landscape paintings, such as Heath of the Brandenburg March (oil, acrylic and shellac on burlap, 1.18×2.54 m, 1974; Eindhoven, Stedel. Van Abbemus.; see fig.), and from 1973 he produced painted wooden interiors that created a monumental effect, as in Parsifal III (oil and blood on paper laid on canvas, 3.00×4.34 m, 1973; London, Tate). His preoccupation with the spirit and forms of Nazi rule in Germany is seen, finally, in his pictures reflecting the architecture of the 1930s and specifically the buildings of Albert Speer. In a similar way, from 1975 he concerned himself with the Nibelung legends, pointing beyond the German epic to its adaptation by Richard Wagner and to the Nazis' use of it for nationalistic purposes. Kiefer then moved progressively away from this subject-matter. Figures and events from mythology, as well as Old Testament subjects (after a journey to Israel in 1984) and the campaigns of Alexander the Great, were depicted in repeated variations. Instead of concentrating on oil painting, he made increasing use of materials such as sand, straw, wood and photographs, as well as sewn material and toy soldiers, which resulted in increasingly fragile works. In the 1980s he used lead for large-format pictures and sculptures, such as The Women of the Revolution (acrylic on lead with wood, glass, maiolica and roses, 2.8×4.7 m, 1986; Amsterdam, Stedel. Mus.). From 1969 Kiefer also worked on book design, producing artist's books that were painted and formed from a collage of very diverse materials. For example he assembled numerous lead books on steel shelves in libraries, as symbols of the stored, discarded knowledge of history. He developed another motif in three-dimensional aircraft sculptures, which allowed him to approach his themes through the metaphor of flying. From 1974 the motif of the palette became a symbol of Kiefer's passage through the strata of history. Painted or made of lead, floating above the landscape or as a sculpture with wings, it indicated that Kiefer was its creator, while at the same time transcending the relationship (e.g. Nero Paints, oil on canvas, 2.2×3.0 m, 1974; Munich, Staatsgal. Mod. Kst). Apart from the symbolic use of materials, extensive titles usually inserted in childish writing are an important part of his work. These give rise to an overlaying and intertwining of formal hints and associations with those relating to content. The emotional effect combines with Kiefer's historical recollection to produce a dialogue with history. The reminders of tabooed historical signs and symbols, as well as the juxtaposition of hero-worship and irony, helped to split reactions to Kiefer into two camps. The enthusiasm his work aroused, above all in the USA, was matched by violent criticism, not least in Germany. (Grove Art Online accessed 2006-07-25)
Work Style Period:
Neo-Expressionist
work_styleperiod
Neo-Expressionist
Work Style Period
false
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:
Red Sea (sea)
subject
Red Sea (sea)
Work Subject
false
Work Worktype:
oil paintings
work_type
oil paintings
Work Worktype
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
oil, lead, woodcut, photograph and shellac on canvas
Work Measurements (display):
279 cm (H) x 425 cm (H)
Work Location (Repository or Site) name:
Museum of Modern Art (New York, N.Y.)
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
211.1985
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
New York, New York
Image Rights (display):
© Museum of Modern Art, New York. Licensed for educational use via Scholars Resource: Davis Art Images
Image Rights license agreement:
DAVIS ART IMAGES: This image is copyrighted by Davis or its sources and all interest in and to the Image and its copyrights throughout the World are retained by Davis or its sources. Your permission to use the Images is limited as provided below. You acknowledge and agree that your use of the Images, including all use by your faculty and students who are users, shall be strictly limited to educational purposes by means of display through classroom projection and closed network, for instruction and study solely by users who are staff, faculty and registered students of your educational institution at the locations specified below. This license includes permission to use the Images on a multi-user network at the defined locations, and to permit remote access to a computer/server located at your site. Simultaneous display in multiple locations at or connected to the defined locations also is permitted. For all of these uses, you willl use reasonable security measures designed to limit access accordingly (e.g. by requiring authenticated password entry or by using other reasonable security measures to limit access). Any open access use and any publication (including scholarly publication) of the Images for any purpose, is strictly prohibited. Any request for any such use, or any other use not expressly authorized in this Agreement, must be directed to Davis in writing. You shall inform all permitted users of the copyright status of the Images and the restrictions on their use set forth in this Agreement. Your specified locations of use are: 1. University of Colorado at Boulder; 2. University of Colorado at Denvcer and Health Sciences Center (inclusing the Metropolitan State College of Denver and the Community College of Denver which may have students on that downtown campus); 3. University of Colorado at Colorado Springs.
Work Rights (display):
© Anselm Kiefer
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see . For specific questions, suggestions, or corrections about the descriptive data for images, contact aahvrc@colorado.edu. Please include the Image Record ID ('aahi' followed by a 7-digit number) for each image in question.