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Auktionsarchiv: Los-Nr. 10

Georg Baselitz

Schätzpreis
4.700.000 £ - 6.000.000 £
ca. 6.092.857 $ - 7.778.116 $
Zuschlagspreis:
4.983.500 £
ca. 6.460.373 $
Auktionsarchiv: Los-Nr. 10

Georg Baselitz

Schätzpreis
4.700.000 £ - 6.000.000 £
ca. 6.092.857 $ - 7.778.116 $
Zuschlagspreis:
4.983.500 £
ca. 6.460.373 $
Beschreibung:

From the Collection of Marcel Brient, Paris10Georg BaselitzDas letzte Selbstbildnis Isigned with the artist's initials and dated ‘22.IX.82 G.B.’ lower centre; further signed, titled and dated 'G. Baselitz das letzte Selbstbildnis I 22.IX.82' on the reverse oil on canvas 250 x 200 cm (98 3/8 x 78 3/4 in.) Painted in 1982. Full CataloguingEstimate £4,700,000 - 6,000,000 ♠ Place Advance BidContact Specialist Kate Bryan Specialist, Head of Evening Sale +44 20 7318 4026 kbryan@phillips.com
OverviewPainted in 1982, during Georg Baselitz’s most commanding period of production, Das letzte Selbstbildnis I (The last self-portrait I) is a painting of extraordinary impact drenched in fiery reds, yellows and blues. It belongs to a series of paintings which pays homage to Edvard Munch’s late self-portraits, with examples being held in the San Francisco Museum of Modern Art, the Staatsgalerie Stuttgart and the Staatliche Kunstsammlungen Dresden. The present masterwork presents its protagonist in Baselitz’s signature upside-down format, with his head twisted to side and a slash of light paint running down his naked body. Arranged within a prismatic network of tactile and vibrant brushstrokes, the lively red-yellow colours inhabiting the portrayed figure plunge the surrounding background into infinite darkness. Appearing before the viewer in a colossal scale of two and a half metres, Das letzte Selbstbildnis I (The last self-portrait I) evinces a raw, savage beauty, as well as an inimitable conceptual rigour that characterises the very best of Baselitz’s work. Following his selection to represent Germany at the 1980 Venice Biennale, the artist participated in a series of influential exhibitions across the globe which led him to international recognition, including A New Spirit in Painting in 1981 at the Royal Academy, London, Documenta 7 in 1982 and the landmark exhibition Zetgeist that same year at the Martin-Gropius-Bau, Berlin. Created at a turning point in the artist’s career, the present masterpiece contains all the seminal idiosyncracies that propelled Baselitz to international fame, as he attained worldwide critical acclaim and sometimes shocked the art world. Last publicly seen in 1996, Das letzte Selbstbildnis I (The last self-portrait I) comes from the Collection of Marcel Brient and shares the same intensity of one of Martin Kippenberger’s last self-portraits, Ohne Titel (aus der Serie Das Floß der Medusa), formerly part of the same visionary collection. Homage to Edvard,Munch’s Late Self-Portraits Georg Baselitz Maler mit Segelschiff – Munch, 1982, oil on canvas, Staatsgalerie Stuttgart. © Baselitz 2020. Image: BPK, Bildagentur fuer Kunst, Kultur und Geschichte, Berlin/Scala, Florence. Georg Baselitz Das letzte Selbstbildnis II, 1982, oil on canvas, San Francisco Museum of Modern Art. © Baselitz 2020. Image: Courtesy of SFMOMA. Georg Baselitz Edvard vorm Spiegel, 1982, oil on canvas, Private Collection. © Baselitz 2020. Image: Courtesy of Skarstedt Gallery, New York. Georg Baselitz Maler mit Fäustling, 1982, oil on canvas, SKD, Staatliche Kunstsammlungen Dresden. © Baselitz 2020. Image: SKD Dresden, Gercken Stiftung. The present work. Baselitz’s need to forge his own type of painting cannot be understood outside the context of Germany’s political and cultural landscape. Raised in the austerity of communist East Germany, the artist moved to West Germany before the building of the Berlin Wall. Far from the ethos of East Germany’s Social Realism, abstract expressionist styles and conceptual trends were dominating the West. Reluctant to both, Baselitz instead identified himself as an ‘outsider’, alongside artists and writers from northern Europe who similarly eschewed artistic movements or schools, and had lived disturbed or isolated lives at the edge of society. With his friend Eugen Schönebeck he authored his Pandemonium Manifestos in 1961 and 1962, formulating this feeling of isolation he felt while trying to affirm his voice in the art world. The search for renewal on the basis of ‘outsider’ visions led Baselitz to take the Norwegian painter Edvard Munch as a key influence and inspiration. Finding a mutual interest in psychological mutilation, Baselitz was far less interested in the depictive functions of representation than with its power to symbolise states of feelings. Edvard Munch Self-Portrait by the Window, 1940-42, oil on canvas, Munch Museum, Oslo. Image: Scala, Florence. Baselitz’s great appreciat

Auktionsarchiv: Los-Nr. 10
Auktion:
Datum:
20.10.2020
Auktionshaus:
Phillips
null
Beschreibung:

From the Collection of Marcel Brient, Paris10Georg BaselitzDas letzte Selbstbildnis Isigned with the artist's initials and dated ‘22.IX.82 G.B.’ lower centre; further signed, titled and dated 'G. Baselitz das letzte Selbstbildnis I 22.IX.82' on the reverse oil on canvas 250 x 200 cm (98 3/8 x 78 3/4 in.) Painted in 1982. Full CataloguingEstimate £4,700,000 - 6,000,000 ♠ Place Advance BidContact Specialist Kate Bryan Specialist, Head of Evening Sale +44 20 7318 4026 kbryan@phillips.com
OverviewPainted in 1982, during Georg Baselitz’s most commanding period of production, Das letzte Selbstbildnis I (The last self-portrait I) is a painting of extraordinary impact drenched in fiery reds, yellows and blues. It belongs to a series of paintings which pays homage to Edvard Munch’s late self-portraits, with examples being held in the San Francisco Museum of Modern Art, the Staatsgalerie Stuttgart and the Staatliche Kunstsammlungen Dresden. The present masterwork presents its protagonist in Baselitz’s signature upside-down format, with his head twisted to side and a slash of light paint running down his naked body. Arranged within a prismatic network of tactile and vibrant brushstrokes, the lively red-yellow colours inhabiting the portrayed figure plunge the surrounding background into infinite darkness. Appearing before the viewer in a colossal scale of two and a half metres, Das letzte Selbstbildnis I (The last self-portrait I) evinces a raw, savage beauty, as well as an inimitable conceptual rigour that characterises the very best of Baselitz’s work. Following his selection to represent Germany at the 1980 Venice Biennale, the artist participated in a series of influential exhibitions across the globe which led him to international recognition, including A New Spirit in Painting in 1981 at the Royal Academy, London, Documenta 7 in 1982 and the landmark exhibition Zetgeist that same year at the Martin-Gropius-Bau, Berlin. Created at a turning point in the artist’s career, the present masterpiece contains all the seminal idiosyncracies that propelled Baselitz to international fame, as he attained worldwide critical acclaim and sometimes shocked the art world. Last publicly seen in 1996, Das letzte Selbstbildnis I (The last self-portrait I) comes from the Collection of Marcel Brient and shares the same intensity of one of Martin Kippenberger’s last self-portraits, Ohne Titel (aus der Serie Das Floß der Medusa), formerly part of the same visionary collection. Homage to Edvard,Munch’s Late Self-Portraits Georg Baselitz Maler mit Segelschiff – Munch, 1982, oil on canvas, Staatsgalerie Stuttgart. © Baselitz 2020. Image: BPK, Bildagentur fuer Kunst, Kultur und Geschichte, Berlin/Scala, Florence. Georg Baselitz Das letzte Selbstbildnis II, 1982, oil on canvas, San Francisco Museum of Modern Art. © Baselitz 2020. Image: Courtesy of SFMOMA. Georg Baselitz Edvard vorm Spiegel, 1982, oil on canvas, Private Collection. © Baselitz 2020. Image: Courtesy of Skarstedt Gallery, New York. Georg Baselitz Maler mit Fäustling, 1982, oil on canvas, SKD, Staatliche Kunstsammlungen Dresden. © Baselitz 2020. Image: SKD Dresden, Gercken Stiftung. The present work. Baselitz’s need to forge his own type of painting cannot be understood outside the context of Germany’s political and cultural landscape. Raised in the austerity of communist East Germany, the artist moved to West Germany before the building of the Berlin Wall. Far from the ethos of East Germany’s Social Realism, abstract expressionist styles and conceptual trends were dominating the West. Reluctant to both, Baselitz instead identified himself as an ‘outsider’, alongside artists and writers from northern Europe who similarly eschewed artistic movements or schools, and had lived disturbed or isolated lives at the edge of society. With his friend Eugen Schönebeck he authored his Pandemonium Manifestos in 1961 and 1962, formulating this feeling of isolation he felt while trying to affirm his voice in the art world. The search for renewal on the basis of ‘outsider’ visions led Baselitz to take the Norwegian painter Edvard Munch as a key influence and inspiration. Finding a mutual interest in psychological mutilation, Baselitz was far less interested in the depictive functions of representation than with its power to symbolise states of feelings. Edvard Munch Self-Portrait by the Window, 1940-42, oil on canvas, Munch Museum, Oslo. Image: Scala, Florence. Baselitz’s great appreciat

Auktionsarchiv: Los-Nr. 10
Auktion:
Datum:
20.10.2020
Auktionshaus:
Phillips
null
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