Published by Hatje Cantz. Text by Rudi Fuchs, Carla Schulz-Hoffmann, Steven Henry Madoff, Eva Mongi-Vollmer, Norman Rosenthal, Stéphane Aquin.
On the occasion of the 80th birthday of Georg Baselitz (born 1938)—one of the most influential painters and sculptors of our time—the Fondation Beyeler is devoting an extensive retrospective to the artist, gathering many of Baselitz’s most important paintings and sculptures from the past six decades for the first time. By displaying key works together over the course of more than 200 richly illustrated pages, the great wealth of his formal innovation becomes evident.
Published by Galerie Thaddaeus Ropac. Edited by Arne Ehmann. Text by Rudi Fuchs, John-Paul Stonard, Michael Semff.
This book features new, monumental sculptures by German artist Georg Baselitz (born 1938), in bronze and burnished black, accompanied by a radical body of paintings titled Black Paintings. Le côté sombre includes unpublished drawings, watercolors and sketches of the sculptures.
This catalogue juxtaposes recent works by two towering figures of contemporary German painting: Georg Baselitz (born 1938) and Arnulf Ranier (born 1929). Although Ranier’s overpainted reproductions of landscapes and classical portraits differ in style from Baselitz’s abstract gesturalism, the work of both artists share a vivid palette and an infectious joie de vivre. Published for an exhibition at the Arnulf Rainer Museum in Baden, this volume celebrates their mutual qualities of comedic vitality. The works reproduced here date from around 2008 to the present, and range in character from warm, messy, de Kooningesque abstraction (Baselitz) to luminous, bold overpaintings of art historical reproductions and old photographs (Rainer)--all exhibiting an insistent freshness and freedom.
Published by DuMont Buchverlag. Text by Eva Karcher, Carla Schulz-Hoffmann.
As a young painter coming into art in the early 1960s, Georg Baselitz (born 1938) was swift to reject the gestural abstraction that had dominated European and American painting since the end of World War Two, embracing instead a bold figurative expressionism. Often confounding optical habits by inverting his motifs, or pushing them close to abstraction, Baselitz forged new tensions and resistances in painting, and even today, he remains driven by fundamental questions on the potentials and limits of his art. Bildweg is published on the occasion of the artist's seventieth birthday, and ranges across his work, from the "Schwarz-weiss Negativ (Black and White Negative)"--one of the first "headstand" pictures--to his recent "remix" of his well-known large-format work "The Bridge Ghost's Supper."
Published by Walther König, Köln. Edited by Detlev Gretenkort.
Postwar East German Neo-Expressionist Georg Baselitz and Belgian photographer Benjamin Katz have been close friends and artistic colleagues for close to five decades. Over the past two years, Baselitz has engaged in a reworking of his early paintings--using a more direct style, a lighter and quicker manner, in large formats. In this volume, Baselitz's new works are juxtaposed with photographs by Katz, who has taken hundreds of portraits of the artist and his working environment over the past half century. In fact, it was Katz who, in 1963, organized Baselitz's first solo exhibition in the newly founded Berliner Galerie together with Michael Werner. This legendary exhibition caused a scandal and made the artist famous overnight.
German painter Georg Baselitz emerged in the 1960s and quickly distinguishing himself as one of the preeminent artists of the postwar era. Almost 50 years later, we now know his upside-down imagery so well that it is almost superfluous to mention it; yet its function still resonates, allowing us to see the painting beyond its content, in essence, to free seeing from thinking. In this volume of works on paper from Baselitz's Remix series, the artist trades in his heavily applied oil paints for a suite of vibrant watercolors graced by india ink to revisit the iconic themes and motifs from his work of the 60s, 70s and 80s. In music, to "remix" is to repeat or to copy in some way; here, to remix is to add through imitation or a retelling. The remixed work is purposefully self-reflexive and pushes at the boundaries of Baselitz's practice as a painter.
PUBLISHER David Nolan Gallery
PUBLISHING STATUS Pub Date 2/1/2008 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 139
PRODUCT DETAILS ISBN 9780977171422TRADE List Price: $45.00 CDN $55.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Hatje Cantz. Edited by Werner Spies. Preface by Klaus Albrecht Schröder. Text by Jean Clair and Armin Zweite.
No other painter has had a more lasting influence on twentieth-century art than Pablo Picasso. Among the many phases and styles encompassed by his oeuvre, Picasso's late period--which he spent in Mougins, in the South of France, until his death in 1973--has a very special position. For the highly charged paintings that Picasso made during the last decade of his life, often featuring close-ups of the kiss or copulation, seem to cling with all their might to the artist's intense sensuality, his desire for embrace. They are marked by a great restlessness whose aim must be to exorcise death itself. "Wild" paintings rapidly executed by Picasso's masterly hand, the late canvases stand in marked contrast to the artist's detailed, carefully executed drawings of the same period, which are dominated by a unique joy in narrative. This substantial new volume, edited by Werner Spies, former director of the Centre Georges Pompidou in Paris and the most important Picasso expert of our day, examines almost 200 works, including paintings, drawings, prints and sculptures, shedding light on the specific methods and dialectics in Picasso's later work. In particular, the sense of the artist's race against time is made clear through the exciting dialogue that emerges here between painting and drawing. As Picasso himself said, "The works that one paints are a way of keeping a diary."
Published by nyehaus/foundation 20 21. Text by Siegfried Gohr.
This beautifully designed catalogue, published to accompany the Winter 2007 exhibition of this important German neo-Expressionist's work at Nyehaus, New York, comes housed in a stunning monochrome cobalt-blue linen-bound clamshell box with the artist's name embossed upside down and inside out on the front cover. Inside is a Coptic-stitched monograph, exquisitely printed on lush paper, which features a selection of Baselitz's work from the 1960s and 70s--including oils on canvas, pastels, gouaches, and works in graphite, ink, crayon and other media. Designed by the prominent New York firm Helicopter, the book's cover typography conveys the characteristic disorientation that Baselitz's work induces when he inverts his work's subject matter in order to free up its content. Inside, texts are printed in both English and German, while the typefaces address Baselitz's struggle to reconcile his conservative German heritage with his contemporary sensibilities as an artist. Essay by Siegfreid Gohr, scholar and friend of the artist.
Published by Walther König/Contemporary Fine Arts, Berlin.
This oversized collection of new works on paper by the German neo-Expressionist Georg Baselitz is beautifully printed on deluxe paper and includes a tipped in centerfold on glossy paper. Here Baselitz revisits and remixes early works in fresh new ways. "As a Saxonian you always see ghosts. That is over."
Published by Royal Academy Publications. By Nicolas Grimshaw.
Georg Baselitz paints violent and distinctive imagery that is reminiscent stylistically of both German and American Expressionism. This title explores his development, revealing an artist whose concerns are derived from his experiences of post-war German society.
Published by Louisiana Museum of Modern Art. Edited by Helle Crenzien, Detlev Gretenkort and Michael Juul Holm.
Ever since 1963, when East Berlin's renowned art academy, Hochschule der Kunste, expelled Georg Baselitz for what's been translated as "sociopolitical immaturity," and the police confiscated work from his first solo show, he's officially been an art-world bad boy. More than 40 years into his career, he's still literally turning his subjects upside down, and he is considered one of Europe's most influential painters. This collection of more than 100 works spanning from Baselitz's earliest years to the present day offers an unparalleled overview of his oeuvre, as well as insight into the subtle changes that have come to his work as he has matured: In recent years the distinctive visual universe that grew out of the artist's study of art, myth and literature has expanded to make room for the personal, for memories of an upbringing in the German and Slavic cultural borderland, for everyday life and his family and for revisiting works by himself and others.
Published by Gagosian Gallery. Edited by Stefan Ratibor. Essay by Goerg Simmel. Introduction by David Sylvester.
In this new body of work, Georg Baselitz continues to explore canine imagery, a theme that has run from his earliest animal paintings to his recent work.The majority of these paintings were completed in Imperia, Italy, during the summer of 2000. Whilst there, Baselitz acquired a large-scale 16th-century Italian frame, which inspired him to carve, sculpt, and paint frames for this series.
PUBLISHER Gagosian Gallery
BOOK FORMAT Hardcover, 9.75 x 12 in. / 71 pgs / 15 color / 15 bw
PUBLISHING STATUS Pub Date 8/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2001
PRODUCT DETAILS ISBN 9781880154472TRADE List Price: $40.00 CDN $50.00