8 A Tale of Two Cities: Property from the Estate of Howard Karshan Georg Baselitz Follow Jäger mit Hund (Hunter with Dog) signed and dated 'G. Baselitz 67' lower right graphite on paper 62.9 x 48.6 cm (24 3/4 x 19 1/8 in.) Executed in 1967.
Provenance Galerie Heiner Friedrich, Munich Collection Borgmann, Cologne Galerie Fred Jahn, Munich Acquired from the above by the late owner in October 1989 Exhibited London, Runkel-Hue-Williams Ltd; London, Grob Gallery, Georg Baselitz Paintings. Bilder 1962-1988, 19 September - 2 November 1990, pp. 22, 23, 68 (illustrated, p. 23) Southampton City Art Gallery; Manchester City Art Galleries; Hull, Ferens Art Gallery; London, Whitechapel Art Gallery, Drawing the Line , 13 January - 10 September 1995, no. 11, pp. 62, 105 (illustrated, p. 62) Catalogue Essay Executed at a pivotal moment during the artist’s prolific oeuvre, Jäger mit Hund is an arresting example of Georg Baselitz’s visceral experiments with line and form, an enquiry that not only shaped but defined post-war German art. Created in 1967, the present work on paper demonstrates Baselitz’s mastery of graphite to convey the vitality of his fragmented microcosms, his compositions intricately weaved with formal complexities. Selected for Michael Craig-Martin’s curated touring exhibition Drawing the Line , the present work travelled through major British institutions such as Manchester City Art Galleries to Whitechapel Art Gallery in 1995, chosen as a triumph of twentieth century drawing. Deftly able to encapsulate anxiety and frantic energy in his splintered compositions, Baselitz’s Jäger mit Hund interweaves the varying segments of scattered forms into a synergy of line and medium. Subsuming us into his disordered world, Baselitz expertly traverses figuration and abstraction in the present ruptured composition of a hunter and his dog, an important piece from the Karshan collection. A key work from his graphic output, Jäger mit Hund is an exemplary work on paper from Baselitz’s Frakturbilder series, a body of work that the artist commenced upon his move to the rural village Osthofen in the Rheinland Palatinate with his family in 1966. Baselitz embarked on a number of formal experimentations with paintings, woodcuts and works on paper, manipulating the appearance of his earlier series of Helden , his fallen heroic figures, and incorporating rural motifs such as dogs, hunters, cows and woodsmen. In the present work, a hunter to the right of the composition stands before an unidentified building, gazing away from the scene as his dog crouches to the left. Frenetic and repeated lines overlap and intersect, appearing both purposeful and incidental in their execution. Tears, rips and contusions smash the pictorial plane into a crystalline formation, while cross hatched graphite areas interlock with familiar forms. Evoking rural scenes of pastoral nostalgia, Baselitz’s Frakturbilder plunge us into allegorical worlds of hunters, animals and village scenes, each containing a twisted narrative, which transcend time and place. Baselitz’s pastoral surroundings provided visual stimuli for his fractured idylls; the rustic subject matter utilised by Baselitz evokes idyllic imagery which refers to the ethnic ideology supported by National Socialist cultural policy. In Jäger mit Hund , Baselitz builds a layered visual syntax that refers to notions of sentimentality, German folkloric tradition and the politicisation of art within National Socialist rhetoric. Baselitz’s hunter and dog are not solely showcased as quintessential symbols of German rural life. Instead, through his splicing and disfiguring of these motifs, Baselitz references the usage of these tropes during National Socialism and also questions their associations in post-war German culture. Mirroring the dislocation of Germany post-war, a country dissected into zones and divided by deep fissures, voids and wounds, the composition in Jäger mit Hund is sectioned and seemingly in disarray, with pencil strokes of billowing smoke appearing to rise amidst the scorched scene. Jagged edges blend and dissolve into new twisted objects; in the present work severed limbs are isolated and amputated from their bodies, littering the floor of
8 A Tale of Two Cities: Property from the Estate of Howard Karshan Georg Baselitz Follow Jäger mit Hund (Hunter with Dog) signed and dated 'G. Baselitz 67' lower right graphite on paper 62.9 x 48.6 cm (24 3/4 x 19 1/8 in.) Executed in 1967.
Provenance Galerie Heiner Friedrich, Munich Collection Borgmann, Cologne Galerie Fred Jahn, Munich Acquired from the above by the late owner in October 1989 Exhibited London, Runkel-Hue-Williams Ltd; London, Grob Gallery, Georg Baselitz Paintings. Bilder 1962-1988, 19 September - 2 November 1990, pp. 22, 23, 68 (illustrated, p. 23) Southampton City Art Gallery; Manchester City Art Galleries; Hull, Ferens Art Gallery; London, Whitechapel Art Gallery, Drawing the Line , 13 January - 10 September 1995, no. 11, pp. 62, 105 (illustrated, p. 62) Catalogue Essay Executed at a pivotal moment during the artist’s prolific oeuvre, Jäger mit Hund is an arresting example of Georg Baselitz’s visceral experiments with line and form, an enquiry that not only shaped but defined post-war German art. Created in 1967, the present work on paper demonstrates Baselitz’s mastery of graphite to convey the vitality of his fragmented microcosms, his compositions intricately weaved with formal complexities. Selected for Michael Craig-Martin’s curated touring exhibition Drawing the Line , the present work travelled through major British institutions such as Manchester City Art Galleries to Whitechapel Art Gallery in 1995, chosen as a triumph of twentieth century drawing. Deftly able to encapsulate anxiety and frantic energy in his splintered compositions, Baselitz’s Jäger mit Hund interweaves the varying segments of scattered forms into a synergy of line and medium. Subsuming us into his disordered world, Baselitz expertly traverses figuration and abstraction in the present ruptured composition of a hunter and his dog, an important piece from the Karshan collection. A key work from his graphic output, Jäger mit Hund is an exemplary work on paper from Baselitz’s Frakturbilder series, a body of work that the artist commenced upon his move to the rural village Osthofen in the Rheinland Palatinate with his family in 1966. Baselitz embarked on a number of formal experimentations with paintings, woodcuts and works on paper, manipulating the appearance of his earlier series of Helden , his fallen heroic figures, and incorporating rural motifs such as dogs, hunters, cows and woodsmen. In the present work, a hunter to the right of the composition stands before an unidentified building, gazing away from the scene as his dog crouches to the left. Frenetic and repeated lines overlap and intersect, appearing both purposeful and incidental in their execution. Tears, rips and contusions smash the pictorial plane into a crystalline formation, while cross hatched graphite areas interlock with familiar forms. Evoking rural scenes of pastoral nostalgia, Baselitz’s Frakturbilder plunge us into allegorical worlds of hunters, animals and village scenes, each containing a twisted narrative, which transcend time and place. Baselitz’s pastoral surroundings provided visual stimuli for his fractured idylls; the rustic subject matter utilised by Baselitz evokes idyllic imagery which refers to the ethnic ideology supported by National Socialist cultural policy. In Jäger mit Hund , Baselitz builds a layered visual syntax that refers to notions of sentimentality, German folkloric tradition and the politicisation of art within National Socialist rhetoric. Baselitz’s hunter and dog are not solely showcased as quintessential symbols of German rural life. Instead, through his splicing and disfiguring of these motifs, Baselitz references the usage of these tropes during National Socialism and also questions their associations in post-war German culture. Mirroring the dislocation of Germany post-war, a country dissected into zones and divided by deep fissures, voids and wounds, the composition in Jäger mit Hund is sectioned and seemingly in disarray, with pencil strokes of billowing smoke appearing to rise amidst the scorched scene. Jagged edges blend and dissolve into new twisted objects; in the present work severed limbs are isolated and amputated from their bodies, littering the floor of
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