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  • Provenance

    Sylvia and Hartmut Ackermeier, Berlin
    Galerie Hauser & Wirth, Zurich

  • Literature

    H. Ackermeier, A.B. Oliva, N. Rosenthal and H. Szeemann, Georg Baselitz, Opere della collezione Ackermeier Berlino, Milan, 1991, no. 26 (illustrated)

  • Catalogue Essay

    In the 1960s, Georg Baselitz emerged as a leader of German Neo- Expressionist painting. His work evokes disquieting subjects rendered passionately as an outlet for confronting the realities of the modern age, while exploring what it means to be a German artist in a postwar world. In explaining his work, Baselitz says; “I had always loved expressionist painting, like every European. In fact I admired it all the more because these were precisely the paintings despised by my father’s generation. Their denouncement made them especially appealing to me as a human being, but not as an artist. The accusation that my art was expressionist brought out a certain aggressiveness in me and compelled me to begin closely examining the aesthetic dimensions of German Expressionist paintings.” (Georg Baselitz quoted in P. Kort, “Georg Baselitz, Selected Paintings & Interview”, ARTiculate, January 10, 2011).

  • 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

Tränen (Tears)

1986
oil on canvas
63 3/4 x 51 in. (161.9 x 129.5 cm)
Signed, titled, and dated "G.B. Tränen 17.III.86" along the lower margin.

Estimate
$200,000 - 300,000 

Contemporary Art Day Sale

16 November 2012
New York