1. No category

Georg Baselitz
New Works
“Tegninger er som kaprioler”
Tanker om Georg Baselitz’ gouacher
Der har altid været meget tætte relationer på flere punkter mellem de forskellige medier i Georg Baselitz’ oeuvre. Derfor er hans tegnede værker også defineret ud fra de
samme formmæssige, indholdsmæssige, afbildende og konceptuelle kriterier som hans
malerier. Hans måde at tegne og male på udviklede sig pa­­rallelt, men i tankeverdener
og processer, der var uafhængige af hinanden. Baselitz er i udviklingen af sit oeuvre
ikke gået frem efter nogen specifik metode. Det er snarere sådan, at tegneprocessen
er en permanent afprøvning af billedet som et system af abstrakte tegn. Gouacherne
er det sted, han eksperimenter. De lineære og laserende lag på papiret giver uvilkår­­ligt
en mere direkte indsigt i, hvordan hans idéer opstår. Gouacherne er på ingen måde
henvist til en underordnet funktion i forhold til maleriet som det overordnede me­­dium,
der begrænser gouacherne til skitser og/eller forstudier. Tværtimod giver male­rierne
næsten altid anledning til et synkront skridt, hvor et objekt tages op til fornyet bearbejdelse i en gouache.
Inden for det 20. århundredes modernisme er overvejelserne omkring forholdet
mellem abstraktion og repræsentation en central problemstilling, som kunstnerne har
afsøgt med dette som det primære eller sekundære fokus. Ved an­­vendelse af forskellige billed­­skabende teknikker, der indebar dekonstruktion af objektet og konstruk­tion
af formen, opnåede man at gøre værkets billedmæssige træk til dets eneste indhold.
Overvindelsen og/eller elimineringen af klart genkendelige objekter betød nærmest en
eksisten­­­tiel trussel mod maleriet, da det indebar en konfrontation af to op­­fattelser af
maleriet, nemlig på den ene side definitionen af billedet som ren repræsentation eller
fremstilling og på den anden side opfattelsen af billedet som objekt i sig selv. Denne
ekstreme udfordring af maleriet som samtidigt medium for billedkunsten blev først
og fremmest problematisk for de malere, der ønskede at holde fast ved det figura­­tive.
Selv om realiseringen og omsætningen af maleriets egentlige, “rent billed­mæssige
værdier”, som Clement Greenberg havde krævet det, var i overensstemmelse med
Baselitz’ billedmæssige forestillinger, så afviste han, at en fuldstændig opgivelse af
objektet skulle være en konsekvens heraf. Hans op­­fattelse af maleri blev snarere radikaliseret omkring en teori om billedet som et system af tegn i grænsefladen mellem
abstraktion og repræsentation. Dér følte han, uafhængigt af den gængse opfattelse
af det figurative, den nødvendige modstand mod enhver form for tilpasning som den
egentlige drivkraft til skabelse af nye visuelle erfaringer. Han gjorde det på basis af en
ny holdning i samtiden, der lader maleren forstå sig selv som både individ og kollektivt
væ­sen. På grund af dette forkastede Baselitz på det kraftigste, at det abstrakte blev
gjort enerådende, hvilket i hans øjne var et udtryk for tilpasning til den herskende tidsånds konformisme. Objektet tjener blot som påskud for billedet, men er ikke formålet
Untitled, 2014
med fremstillingen, og han anvender det derfor, så at sige, som han har lyst.
[GBZ-14-007]
Fra 2005 har Baselitz med sine Remix-billeder foretaget en radikal revidering af udvik-
til et billede. På de to tegninger af nøgenmodeller, der begge er indvævet i et lineært
lingen i sine værker. Han gør det ved at underkaste motiver, han har ud­­viklet i 1960’
spind, fortættes de grafiske forkortelser på papiret til en aleatorisk struktur. På den ene
erne, en formmæssig dissektion ved hjælp af en ekstremt fri om­­gang med farver og
tegning danner det en imaginær sfære, som figuren er indskrevet i. Beskuerens evne
penselføring, hvorved der skabes en mere åben, billedlig fremstilling. Hans billedkon-
til at opfatte skikkelsens form og sfæren samtidigt bliver, om ikke helt opløst, så dog
struktioner orienterer sig stadig stærkere om farvens materielle betingelser og er som
betydelig indsnævret. En anden tegning viser motivet anlagt i lignende feberagtig karak­­
befriet for enhver tektonisk fastlåsthed i forholdet mellem figur og lærred. Samtidig fri-
ter, dog i brudstykker, der er forskudte i forhold til hinanden. Spindet er opdelt i syv
gøres der erindringer, som relaterer til det tidlige møde med tendenserne inden for den
næsten ensartede fragmenter. Placeringen af figur og omgivelser fastholder betragte-
abstrakte ekspressionisme i værker af Jackson Pollock og Wilhelm De Kooning. Baselitz
ren i en aktiv beskuelsesproces, hvor billedet bliver læsbart.
har aldrig bestridt det dybe indtryk, disse kunstnere har gjort på hans egen praksis, og
han har i sit oeuvre gennem de sidste ti år i stigende grad fundet måder til, gennem
Baselitz siger om det at tegne: “Det er som et sprog uden fornuft. Det får først betyd-
maleriet, at give udtryk for den indflydelse, de har haft på ham. Som følge af denne
ning, når jeg har lært dets gloser – og det tager lang tid. I begyndelsen ved jeg ikke,
udvikling accelereres idéprocessen bag billederne næsten dramatisk og dermed mere
hvad jeg gør, så tror jeg, jeg ved det, til sidst bruger jeg det at tegne hygiejnisk, det vil
hensynsløst og væsentligt mere dristigt. Baselitz tager i sine ak­­tuelle værker et radikalt
sige, egentlig bruger det mig.”1 Det er altså ikke tilfældigt, at gouacherne minder Franz
skridt henimod, hvad der altid har været hans hensigt, nemlig ikke at ophæve objekter-
Dahlem om “skriftbilleder”, som han skriver i sit brev til Baselitz til kataloget fra 19832 De
ne i sig selv, men deres figurative betydning.
fremstår som tekster i en struktur af ukendte tegn, der antyder, at de følger et system.
Hvad Roland Barthes har påstået i sit berømte skrift I tegnenes vold, lader Baselitz
I denne sammenhæng er det tydeligt, at der er en formmæssig tilnærmelse mellem
også gælde i sin egen kunst:
Baselitz’ opfattelse af henholdsvis maleri og tegning, som vedvarende fremhæver den
autonome betydning af hvert af de to værkkomplekser. Baselitz opløser bogstaveligt
“Jeg kan også uden at hævde at ville fremstille eller analysere et udsnit af virkeligheden
talt materialets modstandskraft og sin behandling af det. Det vil sige, at linjernes og
(netop dette gør den vestlige diskurs med forkærlighed) et eller andet sted i verden
farvernes materielle egenskaber på henholdsvis lærredet og papiret fremstår bundet
(der) registrere et vist antal træk (et ord med grafisk og sproglig relation) og af disse
i samme form i figurernes kropslige udtryk og spon­­tanitet. Netop i hans seneste goua-
træk danne et system, helt som jeg har lyst.”3
cher kan man tydeligt se denne bevægelse hen imod en befrielse af den figurative
form. Denne gruppe af billeder om­­skri­­ver de hævdvundne temaer, som ofte kan iagt­
Baselitz’ opfattelse og brug af tegningen er defineret ud fra overvindelsen af den mate-
tages hos Baselitz, ved at motivernes formmæssige detaljer gennemgås og omfortol-
rielle modstand under skabelsesprocessen. De respektive regler, der styrer idéproces-
kes i uendelige variationer.
sen, viser sig derved i arbejdet med billedet, som formuleres af streger, skraveringer,
pletter og laveringer tømt for betydning – et billede, hvis lige aldrig før har eksisteret og
Et af de mest påfaldende karakteristika i en serie af gouacher fra 2014 over Selbst­
heller aldrig igen vil opstå.
porträt als Akt [Selvportræt som nøgenmodel], der er baseret på værket Fingermaleri
Akt [Fingermaleri nøgenmodel] fra 1972, er en indkredsen og frem­­hævelse af enkelte
Ulrich Wilmes
kropsdele. Her fremhæver Baselitz hoved, hænder, fødder og kønsdele ved hjælp af
Chefkurator, Haus der Kunst, München
kraftige sorte konturer. De sætter en malerisk kontrast til de frit flydende linjer, som
figurerne er skitseret med. Her er ikke tale om skygger – et motiv, der så godt som
ikke optræder i Baselitz’ billedverden. Snarere fremstår de som tegn tømt for betydning, der bidrager væsentligt til balancen i billedet. De afleder på en vis måde op­­
mærksomheden fra de be­­tydningsbærende kropslige elementer på lignende måde
som frakturerne og lasurerne i motivserien Helden [Helte].
Linjerne og prikkerne i disse gouacher frembringer ikke nogen narrative figurer, men
fungerer som billedmæssige sætstykker, der i overført betydning er be­­standdele af et
1
ornament. I det er tegn og betydning, signifikat og signifikant sat lig hinanden. Her bli-
Georg Baselitz, „Fragen an mich”, i: Georg Baselitz Manifeste und Texte zur
Kunst 1966 – 2000, Bern, Gachnang und Springer, 2001, s. 2001.
ver det tydeligt, hvordan det er muligt for Baselitz at opløse den mimetiske betydning
2
Franz Dahlem, i: Georg Baselitz – Zeichnungen 1961-1983, Hamburg 1983, s. VIII.
og snarere afsætte tegn, som leder tanken hen på ting og på den måde former dem
3
Roland Barthes: I tegnenes vold, Rævenes sorte bibliotek, Forlaget Politisk revy, 1999, s. 13.
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[GBZ-14-003]
[GBZ-14-004]
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[GBZ-14-021]
[GBZ-14-022]
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[GBZ-14-025]
[GBZ-14-023]
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[GBZ-14-024]
[GBZ-14-020]
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[GBZ-14-006]
[GBZ-14-008]
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[GBZ-14-009]
[GBZ-14-010]
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[GBZ-14-013]
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[GBZ-14-011]
[GBZ-14-012]
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[GBZ-14-014]
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1972, 2014
[GBZ-14-015]
[GBZ-14-016]
Untitled, 2014
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[GBZ-14-017]
[GBZ-14-018]
“Drawings are like caprioles”
From 2005 onwards, Baselitz radically revised the trajectory of his oeuvre with his Remix
Thoughts on Georg Baselitz’s drawings
paintings. To achieve this, he formally dissected motifs developed during the 1960s,
opting to use an unrestrained flow of paint and brushwork, in order to produce looser
It was always the case that there was a close and richly associative relationship
pictorial figuration. As if set free from any kind of tectonic rigidity in the relationship be­­
between the various media in Baselitz’s oeuvre. His drawings are thus determined by
tween figure and ground, his image constructions increasingly now lean far more in the
the same criteria as his paintings, in formal, descriptive and conceptual terms, as well
direction of the material conditions of colour. In doing so, he simultaneously unleashes
as in respect of their subject matter. His drawing and painterly practices developed in
memories associated with his early encounters with the Abstract Expressionist tenden-
parallel, albeit addressing philosophical and process-related concerns independently of
cies in the work of Jackson Pollock and Wilhelm De Kooning. Baselitz has never disput-
one another. Baselitz did not employ any particular method of drawing over the course
ed the profound impression these artists made on his own practice, and in his oeuvre
of his career. Instead, drawing for him was a constant investigation of the image, seen
of the last ten years he has progressively discovered the means by which to articulate
as a system of abstract marks. Drawing was Baselitz’s field of experimentation, in which
through paint their influences on him. As a consequence of this development, the pro-
the linear marks and translucent layers that he applied to the paper naturally grant the
cess of pictorial invention employed by the artist has accelerated in a dramatic fashion,
viewer access more directly to his emerging ideation. Baselitz’s drawings are not in any
becoming more reckless and considerably more adventurous. In his current work,
way subservient to the medium of painting, which, being generally accorded a superior
Baselitz is thus taking a radical step in the direction of his original intention to unmake
role, would assign them the limited function of sketches and/or studies. On the con-
the pictorial meaning of things, rather than objects per se.
trary, the paintings almost always prompt the artist to a synchronous step, with a work
being re-evaluated in the medium of drawing.
Within this context, it is evident that Baselitz’s conceptions of painting and drawing are
converging in formal terms, which will only serve to underline the autonomous signifi-
In 20th-century modernism, the examination of the relationship between abstraction and
cance of both bodies of work over the long term. Put plainly, Baselitz is dismantling the
representation was a key concern, investigated by artists as a primary or secondary
resistance of the material and his treatment of it. This means that the material charac-
focus. By employing a variety of artistic practices involving the destruction of the object
teristics of line and colour on both canvas and paper appear to be bound up with the
and the construction of form, artists were able to draw subject matter exclusively from
same kind of gestural expressivity and spontaneity. In the artist’s most recent drawings,
the pictorial characteristics of their work. Transcending and/or eliminating the descrip-
in particular, one can clearly see this movement towards an emancipation of pictorial
tive elements of cognition when considering an object meant that painting was almost
figuration. This group of works paraphrases time-honoured themes seen frequently in
existentially threatened, since the definition of the image as pure representation or visu-
Baselitz’s oeuvre in a myriad of variations which run through and reinterpret the formal
alisation stood in opposition to a conception of the image as object in its own right. This
details of his motifs.
extreme challenge to painting’s validity as a contemporary medium for the visual arts was
primarily a problem for painters who sought to retain pictorial objectivity in their work.
One of the most noticeable characteristics of a series of drawings produced in 2014 in
relation to the Selbstporträt als Akt [Self-portrait as nude], which is based on the series
Whilst the realisation and execution of ‘authentic, pure visual values’ in painting, as
Fingermalerei Akt [Finger painting nude] of 1972, is the encircling emphasis on individu-
demanded by Clement Greenberg, did accord with Baselitz’s conception of the pic­­
al parts of the body. In these works, Baselitz accentuates the head, hands, feet and
torial, he objected to a complete eschewing of the object as its logical conclusion. His
genitals of his figures by means of power­­ful black-­painted contours. This produces a
conception of painting found its radicalism far more in a theory of the image as a sys-
painterly contrast to the free-flowing lines by which the figures themselves are delin-
tem of signs at the interface between abstraction and representation. Independently
eated. They are by no means mere shadows cast – a motif that barely features at all
of the otherwise current notion of objectivity, and to avoid conforming to it, he sensed
in Baselitz’s visual world. Instead, they seem far more like meaningless cyphers that
that a resistance to such ideas, which was necessary for him, would provide him with
substantially contribute to the balance struck within his compositions. They distract in
an authentic impetus to create new visual experiences. He would do this on the basis
a sense from the meaning-laden bodily elements, as do the fractures and scumbling
of a contemporary artistic approach, whereby the artist could see himself both as an
in the Helden [Heroes] motifs.
indi­vidual and as a collective being. On the strength of this, Baselitz vehemently repu­
diated the absolutism of non-objectivity, considering it as conforming to the prevailing
The lines and blotches in these drawings do not go to make up any kind of nar­­­­rative
Zeitgeist. The object functioned solely as a pretext for his image-making; its represen-
figuration. Instead, they act as pictorial set pieces, which in the received sense of the
tation was not the purpose of the image, and it was effectively instrumentalised ran-
term are the components of ornament. They equate to mark and meaning, sign and
domly by the artist.
signifier. Here it becomes evident how Baselitz manages to dissolve mimetic meaning,
and instead is able to make marks reminiscent of objects, thus creating an image. In
the two drawings with nude figures, both of which are interwoven in a linear mesh,
the drawn abbreviations condense on the paper to form an aleatoric structure. In one
drawing an imagined sphere forms, in which the figure is inscribed. The viewer’s ability
to grasp the figural form and sphere simultaneously is, if not actually extinguished, then
at least restricted. A further drawing depicts the motif in a similarly feverish style, albeit
composed of fractured elements set in opposition to one another. The woven substance is divided into seven almost equal fragments. The alignment of figure and surround arrests the viewer in a process of active seeing, by which means the image
becomes legible.
Baselitz has this to say about drawing: “It is a language without reason, and only attains
meaning when I have learned its words. That takes a long time. To begin with, I do not
know what I am doing, then I think I do, and finally I use the sign in a hygienic manner;
though in actual fact, it is rather more the case that it uses me.”1 So it is not by chance
that the drawings remind Franz Dahlem, as he wrote in his letter to Baselitz for the catalogue of 1983, of ‘printed characters’2 They thus appear as texts in a structure consisting of unknown signs, which give the impression that they are adhering to a system.
Baselitz thereby takes into consideration in his art what Roland Barthes claimed in his
famous essay, Empire of Signs:
“I can also – though in no way claiming to represent or analyze reality itself (these
being the major gesture of Western discourse), isolate somewhere in the world (faraway) a certain number of features (a term employed in linguistics) and out of these
features deliberately form a system.”3
Baselitz’s conception and handling of drawings came to be defined over the course
of his practice as an overcoming of material resistance. The rules of image-making at
which he arrived thus manifested themselves in the process of working on the image,
formulated on paper and consisting of lines, layering of lines, flecks and glazes, emptied of meaning – the resultant image being something that had never previously
existed in any form and would never be executed in that form again.
Ulrich Wilmes
Chief curator, Haus der Kunst, Munich
1
Georg Baselitz, ‘Fragen an mich’, in: Georg Baselitz Manifeste und Texte zur
Kunst 1966 – 2000, Bern, Gachnang and Springer, 2001, p. 2001.
2
Franz Dahlem, in: Georg Baselitz – Zeichnungen 1961-1983, Hamburg 1983, p. VIII.
1972 YO, 2014
3
Roland Barthes, Empire of Signs, Hill and Wang, 1983, trans. Richard Howard.
[GBZ-14-019]
Georg Baselitz
Georg Baselitz lives and works in Basel (Switzerland), at the
1977
Ammersee (Bavaria, Germany) and in Imperia (Italian Riviera).
1938
1956
Appointed to the Staatliche Akademie der Bildenden
1996-98 Retrospective in Paris (1996). The paintings “Friedrichs
Frau am Abgrund” (Friedrich’s Wife on the Brink)
Albright-Knox Art Gallery, Buffalo, New York
Professorship 1978 - 83. Withdrawal of his paintings
and “Friedrichs Melancholie” (Friedrich’s Melancholy)
Aros Aarhus Kunstmuseum, Denmark
Born on 23 January 1938 as Hans-Georg Bruno Kern
from documenta 6 in protest at the participation of
(1998) are produced for the Reichstag Building in
Essl Collection of Contemporary Art, Austria
in Deutschbaselitz, Saxony.
“official representatives of GDR painting”.
Berlin.
Folkwang Museum, Essen, Germany
Studies Painting at the Hochschule für bildende und
1980
His first sculptural work “Modell für eine Skulptur”
2000-03 Receives numerous awards, including the Nieder­
(Model for a Sculpture) is exhibited in the German
sächsischer Staatspreis (State Prize of Lower Saxony)
Guggenheim Museum, New York City
Art) in East Berlin. Expelled after two semesters on
pavilion at the Venice Biennale.
(2003) and the Commandeur de l’Ordre des Arts et
Hamburger Kunsthalle, Germany
des Lettres (2003).
Hirshhorn Museum and Sculpture Garden, Washington DC
1981-82 Participates in the exhibition “A New Spirit in Painting”
1957-63 He continues his studies at the Hochschule für
at the Royal Academy of Arts in London, in docu-
2004-06 In 2005 begins his “Remix” series, on which he works
Kunsthaus Zurich, Zurich
bildende Künste (Academy of Fine Arts) in West Berlin.
menta 7 and in the “Zeitgeist” exhibition in the Martin
for several years. Awarded the Praemium Imperiale,
Kunstmuseum Basel, Switzerland
Until 1963 student and masterclass member under
Gropius Building in Berlin. Among other things, work
Tokyo. Moves to Bavaria in 2006.
Kunstmuseum Bonn, Germany
Hann Trier.
on the “Orangenesser” (Orange Eater) series.
1960–62Paints his “Rayski Portraits” – his first distinct works.
1983
2006-09 Retrospectives and solo exhibitions around the world,
Louisiana Museum of Modern Art, Humlebæk, Denmark
Large painting compositions such as “Nachtessen in
including Seoul, Hamburg, Humlebæk, Munich and
Museum of Fine Arts, Boston
Adopts the name Georg Baselitz in reference to his
Dresden” (Supper in Dresden) are produced. Retro-
Vienna, London, Naples, Salzburg and Prague.
Museum of Modern Art, New York City
birthplace. “1. Pandämonium” (First Pandemonium),
spective exhibited in London, Amsterdam and Basle.
declaration and exhibition in association with Eugen
Professorship at the Hochschule der Künste in Berlin
Schönebeck in 1961.
until 1988 and then again from 1992 to 2003.
Works on several monumental sculptures and finishes
the series „Mrs Lenin and the Nightingale” (2008).
2010-15 Retrospective of the sculptures in Paris (2011) and
1962
Marries Elke Kretzschmar. Son Daniel is born.
1963
First solo exhibition at the Galerie Werner & Katz in
(Academy of Arts), Berlin. Retrospective of his graphic
Berlin, which provokes a scandal. Two of the exhibited
prints at the Bibliothèque Nationale Paris, 1985. Issues
paintings are confiscated by the State Prosecution
the declaration “Das Rüstzeug der Maler” (The Paint-
ing “BDM Gruppe” (BDM Group), on a series of black
er’s Equipment).
paintings depicting the eagle motif (2012/2013, on the
1984-85 Until 1992 member of the Akademie der Künste
Service.
1966
Guggenheim, Berlin
angewandte Kunst (Academy of Fine and Applied
account of “socio-political immaturity”.
1965
Works in collections (selected)
Künste (State Academy of Fine Arts) in Karlsruhe,
Scholarship to the Villa Romana in Florence. In Berlin
1989-90 Major retrospective at the Kunsthaus Zurich. In 1989
Statens Museum for Kunst, Copenhagen
Stedelijk Museum of Modern Art, Amsterdam
Works on several new sculptures (2011-2014) includ-
series “Farewell Bill” (2013) and on the large-format
self-portraits “Ohne Hose in Avignon” (Without pants
“Why the painting ‘Die großen Freunde’ (The Big
spends a year working on the series of monumental
in Avignon) (2014).
Friends) is a good picture!” Exhibition and declaration
sculptures “Dresdner Frauen” (Women of Dresden),
at the Galerie Rudolf Springer in West Berlin. Son
reflecting his memories of the end of the Second
World War.
1991-94 Works until 1995 on the 39-picture series
1969-70 The painting “Der Wald auf dem Kopf” (The Wood on
its Head) after Louis-Ferdinand von Rayski’s “Werms-
“Bildübereins” (One Picture Over Another).
Lecture entitled “Purzelbäume sind auch Bewegung
dorfer Wald” (c.1859) is his first work with the motif
und noch dazu macht es Spaß” (“Somersaults
painted upside-down. First museum exhibition in the
are also Movement and Fun to Boot”) at the Münch-
Kupferstichkabinett at the Kunstmuseum Basel.
ner Kammerspiele as part of the series entitled
1971-76 Moves to Forst at Weinstraße, then in 1975 to
“Reden über Deutschland” (Talking about Germany)
Derneburg near Hildesheim. Participates in documenta
5 in Kassel (1972) and in the 13th São Paulo Biennale
(1975). Retrospectives in Berne, Munich and Cologne.
(1992).
1995
Major retrospective at the Guggenheim Museum in
New York.
National Gallery of Australia, Canberra
Dresden and Munich amongst others.
the artist completes the 20-part work “’45” and
Worms.
National Gallery of Art, Washington DC
solo exhibitions in Copenhagen, Helsinki, São Paulo,
he works on the “Hero Paintings” until 1966.
Anton is born and the family moves to Osthofen near
Museum Sønderjylland, Tønder, Denmark
Tate Modern, London
Georg Baselitz
New Works
21 February – 18 April 2015
Works / Værker
Untitled, 2014
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Tusch and watercolour on
Tusch and watercolour on
Tusch and indian ink on paper;
Tusch and indian ink on paper;
paper; 66,2 cm x 50,3 cm
paper; 79,6 cm x 59,3 cm
79,7 cm x 59,1 cm
79,8 cm x 59,2 cm
GBZ-14-001
GBZ-14-007
GBZ-14-014
GBZ-14-020
Untitled, 2014
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Tusch and watercolour on
Tusch and watercolour on
Tusch and indian ink on paper;
Tusch and indian ink on paper;
paper; 66,0 cm x 50,1 cm
paper; 80,2 cm x 59,8 cm
79,6 cm x 59,2 cm
80,0 cm x 59,4 cm
GBZ-14-002
GBZ-14-008
GBZ-14-015
GBZ-14-021
Untitled, 2014
Untitled, 2014
1972, 2014
Untitled, 2014
Tusch and watercolour on
Tusch and watercolour on
Tusch and indian ink on paper;
Tusch and indian ink on paper;
paper; 66,1 cm x 50,2 cm
paper; 80,1 cm x 59,7 cm
80,1 cm x 59,7 cm
79,8 cm x 59,5 cm
GBZ-14-003
GBZ-14-009
GBZ-14-016
GBZ-14-022
Untitled, 2014
Untitled, 2014
Untitled, 2014
Untitled, 2014
Tusch, watercolor and
Tusch and watercolour on
Tusch, watercolor and
Tusch and indian ink on paper;
indian ink on paper;
paper; 80,1 cm x 59,7 cm
indian ink on paper;
79,7 cm x 59,5 cm
66,4 cm x 50,3 cm
GBZ-14-010
79,7 cm x 59,4 cm
GBZ-14-023
GBZ-14-004
GBZ-14-017
Untitled, 2014
Untitled, 2014
Untitled, 2014
Tusch on paper;
Untitled, 2014
Tusch and indian ink on paper;
Tusch and indian ink on
79,6 cm x 59,2 cm
Tusch, watercolor and
80,0 cm x 59,7 cm
paper; 66,3 cm x 50,2 cm
GBZ-14-011
indian ink on paper;
GBZ-14-024
79,6 cm x 59,3 cm
GBZ-14-005
Untitled, 2014
GBZ-14-018
Untitled, 2014
Untitled, 2014
Tusch on paper;
Tusch and watercolour on
79,4 cm x 59,0 cm
1972 YO, 2014
79,8 cm x 59,1 cm
paper; 79,4 cm x 59,4 cm
GBZ-14-012
Tusch and indian ink on paper;
GBZ-14-025
Tusch and indian ink on paper;
79,6 cm x 59,4 cm
GBZ-14-006
Untitled, 2014
Tusch and watercolour on
paper; 79,4 cm x 59,3 cm
GBZ-14-013
GBZ-14-019
FLÆSKETORVET 85 A
© Georg Baselitz & Galleri Bo Bjerggaard
DK–1711 KØBENHAVN V
Translation German to Danish: Wordmaster
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Translation German to English: Wordmaster
BJERGGAARD@BJERGGAARD.COM
Work photos: Jochen Littkemann, Berlin
Biography compiled by Archiv Georg Baselitz
ISBN 978-87-93134-10-2
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