拍品專文
In 1972, when Haubentaucher was painted, Baselitz's style had experienced several significant changes as a result of his desire to challenge his own painting, just as he had confronted the painting traditions of previous generations. Before 1960 to 1966, Baselitz challenged the German painting establishment by addressing the content of his work. Then from 1966 to 1969, his desire to find a new way of painting led to a totally new structure and composition for his paintings. In these well known works, the "Fracture Paintings," Baselitz completely violated the conventional principles of pictorial construction.
In 1969, Baselitz took the decisive step, which was to govern
all his subsequent work with the exception of the sculptures,
and adopted the inverted subject technique as a consistent
principle. By doing so he compelled the viewer to pay
attention not only to the content--the theme is clearly
illustrated--but also, and primarily to painterly values. He
was also committing himself to a much more difficult method
of representation. He had to capture in his mind's eye an
inverted image of reality (A. Franzke, Georg Baselitz, Munich 1989, p. 111).
In addition to the inverted subject matter, these paintings are noted for the central emphasis on the substance of paint and the process of pÿainting. The "Finger Paintings" epitomize Baselitz's urge to make things difficult for himself and to disrupt habitual practices.
Taken as a whole, the works of the early 1970s are marked
by what is, for Baselitz, a surprisingly open layout. There
are two immediate reasons for this. He is, firstly,
experimenting with the possibilities of a new technique,
namely finger painting; and, secondly, the deliberately
light, bright coloring he uses in these compositions favors
an impression of transparency....This textual openness
has its counterpart in Baselitz's choice of subjects...
Baselitz chooses themes that he came across by chance. This
randomness tends to create a deceptive impression that they
might be studies from nature; but all this apparent
naturalness and spontaneity is the product of calculation.
Whether the subject is birds--suggested by a friend's
collection of photographs--or undergrowth, copses,
interiors, eagles, eagles' wings, or, finally, a long series
of nudes, he always succeeds in focusing attention on the
brilliant subtlety of the application of the paint
itself (ibid., p. 112).
In Haubentaucher, Baselitz creates a brilliantly fresh vision of a fishing and diving bird known as a grebe. The image, centered on the canvas, probably taken from a photograph, is rendered in a flurrry of nearly irridescent whites, blues, and greys, in a verdant landscape punctuated by shots of color: a single stroke of red on the bird's beak and blues and violets in the trees above the horizon. As one moves inward, the painting becomes animated and dense in a border of unpainted canvas, making the art of painting the subject, as opposed to content and iconography.
In 1969, Baselitz took the decisive step, which was to govern
all his subsequent work with the exception of the sculptures,
and adopted the inverted subject technique as a consistent
principle. By doing so he compelled the viewer to pay
attention not only to the content--the theme is clearly
illustrated--but also, and primarily to painterly values. He
was also committing himself to a much more difficult method
of representation. He had to capture in his mind's eye an
inverted image of reality (A. Franzke, Georg Baselitz, Munich 1989, p. 111).
In addition to the inverted subject matter, these paintings are noted for the central emphasis on the substance of paint and the process of pÿainting. The "Finger Paintings" epitomize Baselitz's urge to make things difficult for himself and to disrupt habitual practices.
Taken as a whole, the works of the early 1970s are marked
by what is, for Baselitz, a surprisingly open layout. There
are two immediate reasons for this. He is, firstly,
experimenting with the possibilities of a new technique,
namely finger painting; and, secondly, the deliberately
light, bright coloring he uses in these compositions favors
an impression of transparency....This textual openness
has its counterpart in Baselitz's choice of subjects...
Baselitz chooses themes that he came across by chance. This
randomness tends to create a deceptive impression that they
might be studies from nature; but all this apparent
naturalness and spontaneity is the product of calculation.
Whether the subject is birds--suggested by a friend's
collection of photographs--or undergrowth, copses,
interiors, eagles, eagles' wings, or, finally, a long series
of nudes, he always succeeds in focusing attention on the
brilliant subtlety of the application of the paint
itself (ibid., p. 112).
In Haubentaucher, Baselitz creates a brilliantly fresh vision of a fishing and diving bird known as a grebe. The image, centered on the canvas, probably taken from a photograph, is rendered in a flurrry of nearly irridescent whites, blues, and greys, in a verdant landscape punctuated by shots of color: a single stroke of red on the bird's beak and blues and violets in the trees above the horizon. As one moves inward, the painting becomes animated and dense in a border of unpainted canvas, making the art of painting the subject, as opposed to content and iconography.