Galerie Henze & Ketterer & Triebold

Georg Baselitz: Woodcuts 1981 - 2008

Georg Baselitz: Woodcuts 1981 - 2008

Georg Baselitz

Since 1964, prints have accompanied Baselitz's work as a painter and draftsman. He began with etchings, in 1966 he added monochrome or multi-coloured woodcuts and since 1977 he has also been making large-format linocuts. These are sometimes pictorial motifs from his paintings and drawings, which the artist takes up within the various graphic media in order to subject them to a graphic "coding" or "encoding". Georg Baselitz has an extensive collection of 16th century prints.

According to Baselitz, his paintings are not created by interpreting an object. Every artist must discard the previous pictures. Baselitz begins his pictures with disharmony (chaos, handicaps, breaking taboos, radicalism). Surprisingly, however, harmony then emerges in his works. The picture must contain what has never been seen before.
Baselitz also does not stop at his own "older" pictures when he changes them. In his phase of "remixing", he creates pictures that he painted earlier in a better, more contemporary and sharper way, in other words, in a sense from a new perspective.

Image Credit:

Georg Baselitz

Images do not have to pass the comparison with nature or reality.

Georg Baselitz in WELT am SONNTAG, 23.7.1995

Georg Baselitz

Richard Wagner als Frau (Richard Wagner as a Woman)

1986-87

48,7 x 31,6 on 70,3 x 53 cm

Woodcut on paper

Edition 18/20. Signed and dated on the lower right.

5800

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Georg Baselitz

Schläger (Racket)

1986-87

48,8 x 31,3 on 75 x 53 cm

Woodcut on paper

Edition 14/20. Signed and dated on the lower right.

5800

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Georg Baselitz

Georg Baselitz

Kopf (Head)

1981

65 x 49,5 on 86 x 61 cm

Woodcut on paper

Edition of 6. Signed in pencil on the lower right.

8800

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Georg Baselitz

Zwei Pferde (Two Horses)

1988

65 x 49 on 75 x 55 cm

Woodcut on paper

Edition 14/20. Signed and dated on the lower right.

8700

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Georg Baselitz

Georg Baselitz

Dresdner Frau IV (Woman from Dresden IV)

1989-90

60,1 x 50,2 x 100 x 70 cm

Woodcut on paper

Edition 15/30

8700

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Georg Baselitz

Grün VIII (Green VIII)

1990

62 x 30 on 86,2 x 50 cm

Woodcut on paper

Edition 16/30

6600

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Georg Baselitz

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Der Berg (The Mountain)

Georg Baselitz

1991

100 x 70 on 104,5 x 76,5 cm

Colour woodcut on paper

Edition 16/30

11000

Georg Baselitz

La nuit mit Marie (Night with Marie)

2002

202 x 150 on 228 x 170 cm

Linocut on paper

Edition of 6. Numbered in pencil on the lower left. Signed and dated in pencil on the lower right.

64000

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Georg Baselitz

Hirte (Remix) (Shepherd (Remix))

2008

99,8 x 50 on 124 x 70 cm

Colour woodcut on multicoloured Japan paper

Edition 4/12. Numbered in pencil on the lower left. Signed and dated in pencil on the lower right.

9500

Georg Baselitz

Shepherd (Remix)

2008

89,9 x 49,2 on 124 x 70 cm

Colour woodcut in multicoloured Japan paper

Edition 4/12. Numbered in pencil on the lower left. Signed and dated in pencil on the lower right.

9500

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Hans Kern was born in 1938. His artist’s name was taken from the place name of his birth town: Deutschbaselitz. From 1956 to 1957 he studied at the Academy of Art in East Berlin, and then, from 1958 to 1964, after moving to West Berlin at the end of 1957, he continued his studies with Hann Trier at the West Berlin Academy of Fine Arts. He discovered the works of Lautréamont, Artaud, the expressionist-abstract painting. In 1961 he writes his first manifesto "Pandemonium 1", in the following year "Pandemonium 2", which expresses his will to break with abstract aesthetics. His first exhibition, which took place in 1963 at the gallery "Werner und Katz" in Berlin, caused public annoyance, as two of his canvases were labelled obscene. In 1966, on the occasion of an exhibition in Berlin, he published a manifesto entitled "The Great Friends". Gradually he diversified his work. Baselitz painted without neglecting drawing, prints and sculpture. In 1977 he was appointed to a chair at the Art Academy in Karlsruhe, and then from 1983 to 1988 he was a professor at the Academy of Fine Arts (Department of Applied Arts) in Berlin. Baselitz belongs to the generation of German painters who have made their own the German heritage disfigured by the Nazi regime. In their search for national identity, even going back to their deepest Germanic roots, these painters created an emotional pictorial language called "Neo-Expressionism". Baselitz’ works in a context influenced by the American and Parisian schools of abstraction. Probably at first he painted very provocatively for reasons of self-affirmation. Baselitz' painting style is characterized by a rapid, choppy development. His first, rather informal period, with a heavy, thickly applied colour flow, is quickly abandoned.

Around 1965 the first so-called "hero compositions", people who are never able to communicate with their environment, appear. In 1967 the figures in the paintings are dismembered. In 1969 Baselitz turns to figurative compositions, which are represented in reverse: His entire personal painting repertoire appears with the head or roof down (people, animals, houses); in doing so, the artist emphasizes that he thereby attains the freedom to deal with the pictorial problem. Baselitz is one of the greatest graphic artists of the twentieth century.

Galerie Henze & Ketterer & Triebold

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