Georg Baselitz
11 Nov 2016 - 19 Feb 2017
Georg Baselitz Der Hirte, 1965
Photo: bpk-Bildagentur
The New Type, 1965
Photo: Louisiana Museum of Modern Art.
Donation: Franz Dahlem
Rebell, 1965
Tate London 2015.
Photo: Fredrich Rosentiel
© Georg Baselitz 2016
Photo: bpk-Bildagentur
The New Type, 1965
Photo: Louisiana Museum of Modern Art.
Donation: Franz Dahlem
Rebell, 1965
Tate London 2015.
Photo: Fredrich Rosentiel
© Georg Baselitz 2016
GEORG BASELITZ
The Heroes
11 November 2016 – 19 February 2017
Curator: Magnus af Petersens
Monumental, figurative paintings and drawings of tattered and frail soldiers fill our galleries in autumn 2016. This exhibition focuses on two controversial series of works, Heroes and New Types, which Georg Baselitz created in 1965–66, in his early career.
Georg Baselitz is regarded as one of Europe’s most prominent and influential artists. The subject matter in the series Heroes was a provocative reminder of German history, in an era when the nation was rejoicing in “the German economic wonder”. The art scene, which was dominated by the shiny surfaces of pop and cool minimalist abstraction, also spurned his works as out of touch with the times. They offered no optimistic outlook. On the contrary, they seemed to sceptically highlight failure. Despite the aggressiveness of the vivid brushwork, the intense colours, and the frontal compositions with thick outlines, the figures seem to convey resignation and vulnerability.
The Heroes
11 November 2016 – 19 February 2017
Curator: Magnus af Petersens
Monumental, figurative paintings and drawings of tattered and frail soldiers fill our galleries in autumn 2016. This exhibition focuses on two controversial series of works, Heroes and New Types, which Georg Baselitz created in 1965–66, in his early career.
Georg Baselitz is regarded as one of Europe’s most prominent and influential artists. The subject matter in the series Heroes was a provocative reminder of German history, in an era when the nation was rejoicing in “the German economic wonder”. The art scene, which was dominated by the shiny surfaces of pop and cool minimalist abstraction, also spurned his works as out of touch with the times. They offered no optimistic outlook. On the contrary, they seemed to sceptically highlight failure. Despite the aggressiveness of the vivid brushwork, the intense colours, and the frontal compositions with thick outlines, the figures seem to convey resignation and vulnerability.