GEORG BASELITZ (B. 1938)

Kopfbild, Ralf W.-Penck

細節

GEORG BASELITZ (B. 1938)
Kopfbild, Ralf W.-Penck
signed and dated 'G.Baselitz '69' (lower right), signed and dated again and titled 'Kopfbild G Baselitz '69 Ralf W.Penck' (on the reverse)
oil on canvas in artist's frame
64 x 51¼in. (162.5 x 130cm.)

來源

Acquired from the artist by the present owner.
Long term loan to the Neue Galerie Staatliche Museen, Kassel, 1976-1997.

出版

"Georg Baselitz", Cologne, 1990, p. 92 (illustrated in colour).

展覽

Cologne, Galerie Franz Dahlem, Galeriehaus in der Lindenstraße, "Georg Baselitz", Oct. 1970.
Hamburg, Kunstverein, "Georg Baselitz: Bilder und Zeichnungen", April-May 1972.
Amsterdam, Galerie im Goethe-Institut-Provisorium, "Georg Baselitz - Portretten", Nov.-Dec. 1972.
Munich, Lenbachhaus, "Bilder Objekte Filme Konzepte", April-May 1973, no. 2.
Zurich, Kunsthaus, "Georg Baselitz", May-July 1990, no. 16. This exhibition travelled to Dsseldorf, Städtische Kunsthalle.
New York, Christie's, "Painting, Object, Film, Concept, Works from the Herbig Collection", Feb.-March 1998, no. 2 (illustrated in the catalogue in colour, p. 64).

拍品專文

"Kopfbild, Ralf W.-Penck" is from a series of works Baselitz painted of his friends and colleagues in 1969, including the art dealers Franz Dahlem and Michael Werner, as well as his wife Elke and a worker from Dresden ("Porträt M. G. B."). This series, one of the earliest examples of Baslitz's experimentation with inverting subject matter, was exhibited one year later at Dahlem's Cologne gallery, which was, in fact, the first time that the artist's "upside down" paintings were presented to the public. In discussing the inversion of the motif, Baselitz states: "I decided in 1969, or from 1969 onwards, to dispense with narrative and content and deal only with the things that painting normally uses: landscape, the nude, the portrait, the still-life and so forth. That is a decision which defines a certain path and has a constricting effect. But in terms of the overall image, I think it pays off." ("Georg Baselitz", Cologne 1990, p. 94). Furthermore, he argues: "The object expresses nothing at all. Painting is not a means to an end. On the contrary; painting is autonomous. And I said to myself: if this is the case, then I must take everything which has been an object of painting - landscape, the portrait and the nude, for example - and paint it upside down. That is the best way to liberate representation from content." ("Georg Baselitz", New York 1995, p. 71).