Georg Baselitz. Painter - Engraver. IV. Catalogue raisonné of prints 1989-1992.
SNOECK| N° d'inventaire | 30981 |
| Format | 34 X 24.5 |
| Détails | 376 p., 340 color ill., bound under dust jacket. |
| Publication | Cologne, 2024 |
| Etat | Nine |
| ISBN | 9783864423802 |
"The supporter of painting"
Georg Baselitz was called "The Painting Partisan" by Cornelius Tittel in a review (November 3, 2021) in Die Welt of the major retrospective at the Centre Pompidou.
For Heiner Müller (1991), in a conversation with Alexander Kluge, the partisan was "something like a dog on the highway in a modern, i.e. technocratically defined, structure."
And in this marginality, Tittel sees the artist Georg Baselitz become a monolith over the decades, whom "the Academy of Fine Arts has now accepted into its ranks as the only German. The sword presented to him at the ceremonial ceremony would symbolize his immortality. This would no longer have been necessary."
In collaboration with the editors Rainer Michael Mason and Detlev Gretenkort, we now announce the publication of Volume IV (1989–1992) of the printed work; the work numbers are included. 718–1010. As already stated with the publication of Volume III, there is no doubt that Georg Baselitz's printed oeuvre stands independently alongside his painting and sculptural oeuvre. The artist not only shaped the medium in the diversity of his different approaches and technical solutions for decades, but also placed it at the forefront of post-war modern art with his unparalleled virtuosity.
"The supporter of painting"
Georg Baselitz was called "The Painting Partisan" by Cornelius Tittel in a review (November 3, 2021) in Die Welt of the major retrospective at the Centre Pompidou.
For Heiner Müller (1991), in a conversation with Alexander Kluge, the partisan was "something like a dog on the highway in a modern, i.e. technocratically defined, structure."
And in this marginality, Tittel sees the artist Georg Baselitz become a monolith over the decades, whom "the Academy of Fine Arts has now accepted into its ranks as the only German. The sword presented to him at the ceremonial ceremony would symbolize his immortality. This would no longer have been necessary."
In collaboration with the editors Rainer Michael Mason and Detlev Gretenkort, we now announce the publication of Volume IV (1989–1992) of the printed work; the work numbers are included. 718–1010. As already stated with the publication of Volume III, there is no doubt that Georg Baselitz's printed oeuvre stands independently alongside his painting and sculptural oeuvre. The artist not only shaped the medium in the diversity of his different approaches and technical solutions for decades, but also placed it at the forefront of post-war modern art with his unparalleled virtuosity.