Georg Baselitz Livres

L'art est le fait d'anarchistes, de rebelles, inutiles à l'ordre. Les artistes sont d'abord des parias Georg Baselitz est célèbre pour ses tableaux dont toutes les figures sont représentées la tête en bas ! Né en 1938 en République démocratique allemande, venu vivre à Berlin à l'âge de vingt ans, il y fera scandale lors de sa première exposition avec des tableaux saisis par la police. Mais, dès les années 1980, son oeuvre est considérée comme majeure parmi celles qui auront contribué au renouveau de la peinture. C'est précisément en 1980 que l'artiste représente officiellement l'Allemagne à la Biennale de Venise. Le public découvre à cette occasion qu'il est aussi un maître de la sculpture. Baselitz est également un grand graveur et, au fil de ses interviews, on découvrira en lui l'érudit, le passionné d'art africain, le grand connaisseur d'art populaire, et l'homme libre qui porte sur son époque un regard sans concession.

Dessins, aquarelles, gouaches, pastels et papiers collés provenant de musées et collections privées du monde entier. Un texte sur Picasso dessinateur précède les planches d'illustrations.

Text mainly consists of correspondence between Strindberg and the artist and a biography of the artist (by Sten Åke Nilsson).

In the Picasso room at the Kunstmuseum in Basel, a striking painting captures Guillaume Apollinaire alongside his muse, Marie Laurencin, created by Henri Rousseau. Initially, I mistook it for a self-portrait of Rousseau with his own muse, Clémence Rousseau. Franz Marc also portrayed Rousseau for Der Blaue Reiter, while Picasso owned a self-portrait by Rousseau. A poignant photograph by André Gomés shows Picasso holding Rousseau's self-portrait in one hand and the portrait of Rousseau's wife in the other. Picasso, known for his innovative works, admired Rousseau, who depicted familiar objects with a unique rigidity. Rousseau’s gaze in his self-portrait is stiff and focused on his art, presenting objects in a way that feels Gothic and Byzantine, diverging from typical perceptions. Other artists, like Kandinsky, also collected Rousseau's works, including the small canvas The Painter and His Wife. De Chirico depicted Picasso and friends beneath Rousseau's self-portrait, while Beckmann painted Rousseau’s hot-air balloon and street. I have Rousseau’s red lithograph The War, reminiscent of works by Ensor, Uccello, Böcklin, and Stefano della Bella. Recently, I’ve painted numerous portraits of my wife and myself, often dressed as various figures, including my parents and historical icons, echoing the style of Otto Dix’s double portrait of his parents, which can be found in the Basel Kunstmuseum.

An exploration by an artist and writer duo of a fundamental constant in the history of humankind: rage, and its impact on the world. Rage and obstinacy are close relatives--and fundamental categories in the work of both Georg Baselitz and Alexander Kluge. In World-Changing Rage, these two accomplished German creators explore links and fractures between two cultures through two media: ink and watercolor on paper, and the written word. The long history of humankind is also a history of rage, fury, and wrath. In this book, Baselitz and Kluge explore the dynamism of rage and its potential to rapidly grow and erupt into blazing protests, revolution, and war. The authors also reflect the melancholy archetype of the Western hero (and his deconstruction) against the very different heroic ethos of the Japanese antipodes. More powerful than rage, they argue, is wit, as displayed in the work of Japanese master painter Katsushika Hokusai. In this volume, Baselitz repeatedly draws an image of Hokusai, depicting him with an outstretched finger, as if pointing towards Europe in a mixture of rage, wrath, irony, and laughter, all-too-fleetingly evident in his expression. A unique collaboration between two of the world's leading intellectuals, World-Changing Rage will leave every reader with a deeper appreciation of the human condition.

Two modern renaissance men pay homage to the medieval tale of Parsifal From Wolfram von Eschenbach's epic of chivalry to Richard Wagner's opera, from the knight as fool to the fool as savior, the story of Parsifal has struck deep chords with artists over the centuries. In this collaboration, Georg Baselitz's studies for a 2018 production of Parsifalat the Munich State Opera (2018) are paired with Alexander Kluge's responses to Baselitz's drawings, through stories in which he filters out individual elements from Eschenbach's epic, such as Parsifal's native wit or the figure of the Knight of the Cheerful Countenance. The result is an ongoing communication conducted over long periods of time: aspects of the Middle Ages can be found in the present. The volume concludes with Tristan Marquardt's text "Excerpts from a Parsifal Lexicon," which shows how far our contemporary language has diverged from Eschenbach's in terms of meaning and sound.

Georg Baselitz im Dialog mit den Alten Meistern: Das Kunsthistorische Museum Wien hat den Maler und Bildhauer zu einem visuellen Gespräch eingeladen. Er selbst traf die Auswahl der Werke, wobei er sich ausschließlich auf den Akt, auf die nackte Figur konzentriert hat. Um diesen menschlichen Elementarzustand - seit jeher zentrales Thema der europäischen Kunst - kreisen Ausstellung und Katalog. Seit seinem Frühwerk arbeitet Georg Baselitz mit einem ausgeprägten kunstgeschichtlichen Bewusstsein, beeindruckt vor allem vom Manierismus und dessen Regelverstößen. In der hier vorgestellten Begegnung der Werke von Georg Baselitz mit historischen Bildern idealschöner Figuren des Kunsthistorischen Museums ergeben sich spannende Einsichten in die Geschichte der Aktmalerei sowie in die Aktualität von Malerei selbst. Der Künstler wirft so grundsätzliche, uns alle betreffende Fragen auf und öffnet in den Begegnungen der Werke einen herausfordernden Erfahrungsraum.