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GEORG BASELITZ (B. 1938)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
GEORG BASELITZ (B. 1938)

Buono due rosa

Details
GEORG BASELITZ (B. 1938)
Buono due rosa
signed, titled and dated 'G. Baselitz 17.X.2015 Buono due rosa' (on the reverse)
oil on canvas, in artist's frame
65 1/8 x 52 ½in. (165.4 x 133.4cm.)
Painted in 2015
Provenance
Gagosian Gallery, New York.
Acquired from the above by the present owner in 2016.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
These lots have been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Anna Touzin
Anna Touzin Specialist, Head of Day Sale

Lot Essay

Painted in 2015, the year the artist was included in the 56th Venice Biennale, Georg Baselitz’s Buono due rosa evinces a fervid, feverish motion. A spiral of disembodied legs spins clockwise as if compelled to dance forevermore. The ghosts of the artist’s iconic upside-down figures shimmer in their silvery forms, with two legs inverted in mirror-image of the pair below. Legs and feet have been a recurrent motif for Baselitz since his 1963 series P. D. Feet; he sees feet as his ‘earth-wire’, explaining that ‘for me the reception via an earth-wire is much better than through an antenna’ (G. Baselitz in conversation with F. Illies, 2006, in J. Lloyd, Georg Baselitz: Collected Writings and Interviews, Manchester 2010, p. 282). The distinctive cruciform arrangement seen here first appeared in the artist’s work in 2001 and has since evolved through various series, including his ‘Mexico’ works of 2005-2006—inspired by Mexican dances and Frida Kahlo’s wooden leg—and in his 2009 appropriations of works by Andy Warhol and Robert Rauschenberg. In the year of the present work, Baselitz would revive the motif in a closely-related series of paintings for Glyndebourne Festival Opera, conjuring references to Bach, Mozart, Wagner and folk rhythms. ‘I try to catch the music … in a golden frame’, he explained (G. Baselitz, quoted in George Baselitz, exh cat., White Cube, London 2015, n. p.). The centrifugal motion of the present work is similarly infused with a sense of musical drive, spinning eternally through time and space.

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