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GEORG BASELITZ. SKULPTUREN/SCULPTURES

GEORGE BASELITZ (1939-)

Georg Baselitz, born Hans-Georg Kern in Deutschbaselitz, Saxony, in 1939, continuously contravenes set categories and regularities in his work. The manifold meanings of his works, the allusions and pictorial references to art history, contemporary history and biography, the ironic distance and the eagerness to experiment emphasize how he ceaselessly rethinks and reinvents his painting. In
sculpture, in which Baselitz first began to work in 1979, he fights against harmony and symmetry just as he does in his paintings. Much like the painter Baselitz accords the greatest possible freedom to the individual brushstrokes in his paintings, the sculptor Baselitz works the wood with a chain saw, hatchet and chisel. The raw feats of strength create abrupt lines, notches and incisions in the sculpture. Sculpture, the artist has said, is a shorter path than painting to
express the same problem, since sculpture is more primitive, more brutal, and more unconditional. The lively evocative power of the creative means is much more directly legible and much less encoded in the medium of sculpture. The present volume is a catalogue raisonné documenting all fifty-eight sculptures created over the past thirty years, from his first sculpture Modell für eine Skulptur ( Model for a Sculpture, 1979 80) to his most recent, Volk Ding Zero
( People Thing Zero, 2009). Thus, it offers a scholarly work of reference in which all of the sculptures are brought together for the first time.

Pris ved 1 589,00 DKK

Emne Ny-eskpressionisme/Skulptur
Kunstner BASELITZ, Georg
Forfatter Karola Kraus
Sprog Engelsk/tysk tekst
Illustrationer Gennem ill. i farver og s/h
Format / Sideantal 22x27 / 240 sider
Udgivelsesår 2010
Indbinding Indbundet
Forlag Distanz
Antikvarisk
Antal
Køb
ISBN 9783899554007
Lev. 3 dage

GEORGE BASELITZ (1939-)

Georg Baselitz, born Hans-Georg Kern in Deutschbaselitz, Saxony, in 1939, continuously contravenes set categories and regularities in his work. The manifold meanings of his works, the allusions and pictorial references to art history, contemporary history and biography, the ironic distance and the eagerness to experiment emphasize how he ceaselessly rethinks and reinvents his painting. In
sculpture, in which Baselitz first began to work in 1979, he fights against harmony and symmetry just as he does in his paintings. Much like the painter Baselitz accords the greatest possible freedom to the individual brushstrokes in his paintings, the sculptor Baselitz works the wood with a chain saw, hatchet and chisel. The raw feats of strength create abrupt lines, notches and incisions in the sculpture. Sculpture, the artist has said, is a shorter path than painting to
express the same problem, since sculpture is more primitive, more brutal, and more unconditional. The lively evocative power of the creative means is much more directly legible and much less encoded in the medium of sculpture. The present volume is a catalogue raisonné documenting all fifty-eight sculptures created over the past thirty years, from his first sculpture Modell für eine Skulptur ( Model for a Sculpture, 1979 80) to his most recent, Volk Ding Zero
( People Thing Zero, 2009). Thus, it offers a scholarly work of reference in which all of the sculptures are brought together for the first time.