From existential paintings and motifs painted upside-down to rough-hewn wooden sculptures and remixes of earlier paintings—the art of Georg Baselitz is consistently challenging. With 400+ pictures from 1960 to the present, this XXL monograph presents the full range of his work in stunning depth and detail. Collector’s Edition (No. 126–1,125), numbered and signed by Georg Baselitz. Also published in two different Art Editions. Genius Down the Drain: Georg Baselitz as a Painter “I always want to present people with something crazy–that’s certainly my intention. I don’t want to keep still.” Georg Baselitz “Paintings don’t bite, at least they don’t nip you in the calf as dogs do, but they do do something, they can turn your head.” Georg Baselitz Edition of 1,000Hardcover in clamshell box, 33 x 44 cm, 8.25 kg, 604 pages, numbered and signed by Georg Baselitz The world seen upside down The paintings and sculptures of Georg Baselitz Proverbially known for the audaciously simple but game-changing strategy of painting the motif on its head, Georg Baselitz has been a consistently challenging artist since the start of the 1960s. His work is always highly charged but surprisingly diverse, starting with the existential figures of paintings such as The Big Night Down the Drain, famously removed from his first solo exhibition for indecency, and the series of “Heroes” that portrayed disabled and exposed figures in a destroyed landscape and order. More and more, the picture space itself became fractured, and by the end of the decade, the artist fully turned the world upside down: trees, factories, eagles, or nude self-portraits actually painted on their heads. This allowed him to freely paint and to engage with conceptual color schemes or off-beat themes, such as men eating oranges, memories of Soviet propaganda paintings, or more recently so-called remixes in a reengagement with his own earlier work as a dialog in time. Already a master of drawing, woodcut, and engraving,from 1980 on Baselitz also created rough sculptures hewn from wood with axe and chainsaw, then adding bronze to his materials in the late 2000s. This oversize and most in-depth monograph on the artist’s oeuvre features large-format reproductions of more than 400 works in all media plus installation shots and portraits along with texts that approach the subject from different perspectives: a portrait of the artist and his dark sense of humor by long-time connoisseur Richard Shiff, an essay on his formation and development as a painter by critic Jonathan Jones, on the sculptural work from his scandalous success at the Venice Biennale 1980 by art historian and curator Eva Mongi-Vollmer, on his artistic strategies by art historian and curator Carla Schulz-Hoffmann, a collection of small literary texts relating to the artist’s use of myth and history by author and director Alexander Kluge, and a studio conversation with the art journalist Cornelius Tittel. Statements from the artist through the years and an illustrated biography complete this unprecedented survey of Georg Baselitz’s work. Collector’s Edition (No. 126–1,125), numbered and signed by Georg Baselitz. Also published in two different Art Editions. The editor Hans Werner Holzwarth is a book designer and editor specializing in contemporary art and photography. His TASCHEN publications include the Collector’s Editions Jeff Koons, Christopher Wool, Albert Oehlen, Neo Rauch, Ai Weiwei, Beatriz Milhazes, Julian Schnabel, Georg Baselitz, Glenn Brown, the David Hockney SUMO A Bigger Book, as well as monographs such as the XXL-sized Jean-Michel Basquiat. Georg Baselitz Edition of 1,000Hardcover in clamshell box, 33 x 44 cm, 8.25 kg, 604 pages, numbered and signed by Georg Baselitz ISBN 978-3-8365-7753-3 Edition: Multilingual (English, French, German) Download product images here

Le Musée d’Art moderne de la Ville de Paris organise une exposition consacrée aux sculptures de Georg Baselitz (né en 1938). Cette manifestation proposera une lecture rétrospective d’un des aspects de l’œuvre de cet artiste allemand, d’abord peintre et graveur, en présentant, la quasi-totalité d’une production peu montrée en France qui s’étend sur plus de trente ans. Désormais autonome par rapport à la peinture, la sculpture de Baselitz, qui occupe une place privilégiée au sein de son œuvre, a gagné en monumentalité.

Faire violence à la matière et à la sculpture. Ainsi pourrait se définir la démarche menée par l’artiste allemand au cours de ces trente dernières années. Car c’est à la tronçonneuse, à coups de hache et de ciseau, que Georg Baselitz attaque le bois, le violente et le mutile, afin de représenter corps et visages.…

Learn about the work and career of artist Georg Baselitz. Artworks, biography, exhibitions, news, museum exhibitions, press, and more.

Faire violence à la matière et à la sculpture. Ainsi pourrait se définir la démarche menée par l’artiste allemand au cours de ces trente dernières années. Car c’est à la tronçonneuse, à coups de hache et de ciseau, que Georg Baselitz attaque le bois, le violente et le mutile, afin de représenter corps et visages.…

Learn about the work and career of artist Georg Baselitz. Artworks, biography, exhibitions, news, museum exhibitions, press, and more.

Georg BaselitzDresdner Frauen-Giebel1990122 x 52 x 53 cmAsh, painted yellow with tempera dated ´5.IX.90´Museum Frieder Burda, Baden-BadenNo royalties for publication if related to the exhibition Museum Frieder Burda, Baden-Baden Georg BaselitzDer rote...

Oil on linen; 240.7 x 195 cm. German painter, printmaker, and sculptor who is considered to be a pioneering Neo-Expressionist. Baselitz was part of a wave of German painters who in the late 1970s rejected abstraction for highly expressive paintings with recognizable subject matter ( Neo-Expressionism). His trademark work was painted and displayed upside down to emphasize its surface rather than its subject matter. Baselitz began art studies in 1956 at the Academy of Fine and Applied Art in East Berlin. He was expelled and left East Berlin in 1957 for West Berlin. There he entered the Academy of Fine Arts, completing postgraduate studies in 1962. During this period he also changed his surname to Baselitz. From his youth he was interested in the tradition of German Expressionist painting and its reliance on “primitive” sources such as non-Western art, folk art, children's art, and the art of the insane. Like his predecessors Ernst Ludwig Kirchner and Emil Nolde (both involved in a group known as Die Brücke), Baselitz employed a deliberately crude style of rendering and a heightened palette in order to convey raw emotion. In the mid-1960s Baselitz turned to the subject of heroes, rebels, and shepherds, often fragmenting the figures and continuing to make the thick impasto carry much of his paintings' emotional content. He also often used shocking or disturbing imagery to provoke a response in the viewer. In 1969 he began to paint and display his subjects upside down. Baselitz also created art in other media; his etchings, woodcuts, and wood sculptures are as direct and expressionistically charged as his mature paintings. His first American retrospective was organized in 1995 at the Guggenheim Museum in New York.

Faire violence à la matière et à la sculpture. Ainsi pourrait se définir la démarche menée par l’artiste allemand au cours de ces trente dernières années. Car c’est à la tronçonneuse, à coups de hache et de ciseau, que Georg Baselitz attaque le bois, le violente et le mutile, afin de représenter corps et visages.…

Faire violence à la matière et à la sculpture. Ainsi pourrait se définir la démarche menée par l’artiste allemand au cours de ces trente dernières années. Car c’est à la tronçonneuse, à coups de hache et de ciseau, que Georg Baselitz attaque le bois, le violente et le mutile, afin de représenter corps et visages.…

Faire violence à la matière et à la sculpture. Ainsi pourrait se définir la démarche menée par l’artiste allemand au cours de ces trente dernières années. Car c’est à la tronçonneuse, à coups de hache et de ciseau, que Georg Baselitz attaque le bois, le violente et le mutile, afin de représenter corps et visages.…

Enigmatic figures are repeated in a succession of poetic poses across 13 large canvases. The new works by German painter Georg Baselitz, are on show at the Gagosian in Hong Kong.

Le Musée d’Art moderne de la Ville de Paris organise une exposition consacrée aux sculptures de Georg Baselitz (né en 1938). Cette manifestation proposera une lecture rétrospective d’un des aspects de l’œuvre de cet artiste allemand, d’abord peintre et graveur, en présentant, la quasi-totalité d’une production peu montrée en France qui s’étend sur plus de trente ans. Désormais autonome par rapport à la peinture, la sculpture de Baselitz, qui occupe une place privilégiée au sein de son œuvre, a gagné en monumentalité.

On the occasion of his blockbuster exhibition at Miami Beach’s Bass Museum of Art, power-player Peter Marino opens the doors to his life, his work, and his spectacular art collections

Ohne Titel [Untitled (Figure with Raised Arm)]

Starke Zeitgenossen. Hohe Preise für CoBrA-Gruppe, Kippenberger, Scheggi im Dorotheum. Zeichen für einen starken Kunstmarkt: Nach dem Top-Preis von 2,3 Mio...

The Musée d’Art Moderne de la Ville de Paris is organising an exhibition of the sculptures of Georg Baselitz (b. 1938). This retrospective interpretation of one facet of the German artist – initially a painter and engraver – will include almost his entire sculptural output, covering a period of more than thirty years. Few of these works have been shown in France. Now recognised as a part of his oeuvre in its own right, Baselitz's sculpture gradually became more and more monumental in scale.

Faire violence à la matière et à la sculpture. Ainsi pourrait se définir la démarche menée par l’artiste allemand au cours de ces trente dernières années. Car c’est à la tronçonneuse, à coups de hache et de ciseau, que Georg Baselitz attaque le bois, le violente et le mutile, afin de représenter corps et visages.…

Faire violence à la matière et à la sculpture. Ainsi pourrait se définir la démarche menée par l’artiste allemand au cours de ces trente dernières années. Car c’est à la tronçonneuse, à coups de hache et de ciseau, que Georg Baselitz attaque le bois, le violente et le mutile, afin de représenter corps et visages.…