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  • Provenance

    Galerie Michael Werner, Cologne; Collection of Ann and Steven Ames, United States

  • Exhibited

    New York, Museum of Modern Art, 21 May – 26 August, 1997 and London, Hayward Gallery, 10 September, 1997 – 4 January, 1998, Objects of Desire: The Modern Still Life

  • Literature

    M. Rowell and G.D. Lowry, The Modern Still Life, New York, 2002, no. 119

  • Catalogue Essay

    Starting out, he was eager to renounce Tachisme, but he nonetheless remained cognizant of making painting that was essentially about painting. Baselitz's art opened with the figure – dissected, distorted, fractured, upside-down, or prone – and was enriched by manifold references to the realms of art, philosophy, religion, and personal history. Simultaneously, he addressed the requirements of his mediums. In painting, the resulting dialogue between the figure and the field has always been directed at creating form anew. D. Waldman, Georg Baselitz, New York, 1995, p. 164

  • 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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239

Das Motif: Abendstimmung (The Motif: Evening Atmosphere)

Oil on canvas.
161.7 x 130.2 cm. (63 5/8 x 51 1/4 in).
Initialed and dated ‘G.B. 16, VII, 88' lower left; also signed, titled, and dated, ‘OBEN G Baselitz ‘029, V, 88' + 15, VII, 88' ‘das Motifs' ‘abendstimmung'' on the reverse.

Estimate
£200,000 - 300,000 ‡ ♠

Sold for £241,250

Contemporary Art Evening Sale

29 June 2008, 5pm
London