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  • Provenance

    Galerie Michael Schultz, Berlin
    Acquired directly from the above by the previous owner, in 2003
    Sotheby's, London, Contemporary Art Day Auction, June 30, 2011, lot 134
    Acquired at the above sale by the present owner

  • Exhibited

    Cuenca, Fundación Antonio Pérez, Pintura y escultura de la colección Irene Cábez - Ignacio Muñoz, May 19 - August 31, 2005
    Miengo, Sala de Arte Robayera, Baselitz, September - October, 2005

  • Literature

    Pintura y escultura de la colección Irene Cábez - Ignacio Muñoz, exh. cat., Cuenca, Fundación Antonio Pérez, 2005, p. 39 (illustrated)
    G. Baselitz and M. Mantecón, Baselitz, exh. cat., Sala de Arte Robayera, Ayuntamiento de Miengo, 2005, p. 25 (illustrated)

  • Catalogue Essay

    Georg Baselitz's name is synonymous with severity in art; his approach cannot be disjoined from his overwhelming influences—namely those of the historical and cultural circumstances in which he has lived. Particularly, Baselitz’s work creates brilliant political statements about the realities of German life following World War II. But, rather than offering blatant cultural criticism or critiquing specific institutions, Baselitz instead gives the viewer a wealth of symbol and image, which work together in his sculptures and paintings to achieve a somewhat disturbing yet wholly cathartic end. As a German, a Neo-Expressionist, and first and foremost, as a creator, Baselitz shows us the cracks in our world through the lens of artistic invention.

    In Teolie, 2000, we observe one of his most fascinating reflections on an earlier period. Baselitz’s “upside-down” paintings of the 1970s inverted the commonplace features of the urban landscape into an unrecognizable scene of shape and image. Yet in the present lot, Baselitz works with only one recognizable figure—the inverted child at left—crafting along side of it a web that links to a dark, sinister mass. It would be difficult not to observe the violence in Teolie, 2000, especially given the red coloring of the figure’s head and Baselitz’s splattering technique. Yet we must remind ourselves that he is not simply crafting a picture of a victim of war or tragedy, but rather assembling many visual components into an illusion, further exploring the ability to find abstraction in a subject. Teolie is a marvelous testament to Baselitz’s decades-long dedication to the realm of visual possibility.

  • Artist Biography

    Georg Baselitz

    Enthusiastically disruptive and perennially iconoclastic, Georg Baselitz stands out as an artistic outlier among Germany’s impressive roster of postwar artmakers. Born in the former German Democratic Republic and expelled from his East German art school for “sociopolitical immaturity,” Baselitz retreated to the West and quickly became known for creatively challenging widespread artistic conventions by painting in a violent and energetic form of representation in gleeful defiance of the prevailing abstract tendencies of the avant-garde following World War II. Baselitz, favoring figuration, painted caustic portraits and kinetic landscapes in the tradition of the German Expressionists before literally upending his practice in the late 1960s by painting upside-down, creating a disarming pseudo-abstract effect that emphasizes surface over substance.

    Baselitz’s work has been widely celebrated for its unapologetic and unconventional innovation as well as for its occasionally confrontational subject matter. Baselitz’s critical breakthrough came in 1963 with the debut of the unabashedly outrageous painting Die groβe Nacht im Eimer, currently in the collection of the Museum Ludwig, Cologne, which immediately attracted the attention of the German media and judicial system. This work, and others, set the tone for a long and celebrated career of convention-shattering paintings, prints, and sculptures that are at once stylistically innovative and deferential to the German artistic tradition. Today, Baselitz’s work can be found in major institutions worldwide such as the Museum Ludwig and The Metropolitan Museum of Art, New York.

     
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186

Teolie

2000
oil on canvas
57 3/8 x 44 7/8 in. (145.6 x 114 cm.)
Signed, titled and numbered "G. Baselitz 6.III.2 'Teolie'"on the reverse.

Estimate
$200,000 - 300,000 

Contact Specialist
Amanda Stoffel
Head of Sale
[email protected]
+1 212 940 1261

Contemporary Art Day Sale

New York 17 May 2013 10am