Beschreibung:

Georg Baselitz Elke 1993 synthetic resin on lime wood 49 3/4 x 21 1/8 x 20 1/2 in. (126.4 x 53.7 x 52.1 cm) Dated “ 4.III. 4. III 93” on the back of the lime wood element.
Provenance Jamileh Weber Gallery, Zurich Private Collection Exhibited New York, Pace Gallery, Georg Baselitz Painting and Sculpture, December 3, 1993 – January 8, 1994 Hamburg, Kunsthalle, Georg Baselitz Skulpturen, February 18 – April 17, 1994 Zurich, Galerie Jamileh Weber, Georg Baselitz April 1 – May 13, 1995 New York, The Solomon R. Guggenheim Museum, Georg Baselitz May 26 – September 17, 1995; Los Angeles, Los Angeles County Museum of Art, October, 15, 1995 –January 7, 1996; Washington, D.C., Hirshhorn Museum and Sculpture Garden, February 2 – May 5, 1996; Berlin, Nationalgalerie, Staatliche Museen zu Berlin, Preußischer Kulturbesitz; May 25 – September 29, 1996 Bonn, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Georg Baselitz Bilder, die den Kopf Verdrehen, April 2 – August 8, 2004 Paris, Musée d’Art moderne de la Ville de Paris, Baselitz Sculpteur, September 30, 2011– January 29, 2012 Literature G. Baselitz, Georg Baselitz Painting and Sculpture, New York, Pace Gallery, 1993, p. 17 (illustrated) G. Gercken and D. Hansen, Georg Baselitz Skulpturen, Hamburg, Kunsthalle, 1994, p. 71 (illustrated) G. Baselitz, Georg Baselitz Zurich, Galerie Jamileh Weber, 1995, np. (illustrated) D. Waldman, Georg Baselitz New York, The Solomon R. Guggenheim Museum, 1995, cat. No. 105, p. 112 (illustrated) S. Groß, Georg Baselitz Berlin, Nationalgalerie, Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Ostfildern-Ruit, 1996, cat. No.95, p.86 (illustrated) S. Pagé, Georg Baselitz Paris, Musée d’Art Moderne de la Ville de Paris, 1996, p.47 (illustrated) G. Baselitz, Georg Baselitz : Grabados = Gravures = Prints, 1964-1990, Valencia, IVAM Centre Julio González, Valencia, 1991, p.60 (illustrated) S. Kleine, Georg Baselitz Bilder, die den Kopf Verdrehen, Bonn, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 2004, p. 110 K. Kraus, GEORG BASELITZ Skulpteren/Sculptures, Badan-Baden, Staatliche Kunsthalle, 2010, pp. 154 - 155 (illustrated) Baselitz Sculpteur, Paris, Musée d’Art moderne de la Ville de Paris, 2011, p. 121 (illustrated) Catalogue Essay We make a sculpture or a painting against a sculpture or a painting that someone has made before us; always against something. GEORG BASELITZ (Georg Baselitz in Conversation with Jean –Louis Froment and Jean-Marc Poinsot, Georg Baselitz Sculptures, Baden-Baden, 2009, p. 67). In his five decades long career, Georg Baselitz has often attracted controversy for his work. Baselitz spent his childhood and formative years in East Germany, where early on he developed a taste for the provocative. The courage to exercise this unique expression has remained a definitive factor throughout Baselitz’s career. Though his paintings have occupied the main bulk of critical renown and attention, Baselitz’s acclaimed sculptures develop and complete the trajectory of his unique oeuvre. Through his sculptural work, his singular vision finds an outlet that is visceral and intense in its physicality. The nature of Baselitz’s artistic work flows from a variety of personal experiences. Superficial beauty, he has stated, was never his primary concern in his art, for executing it would be to ignore the forces that drive him to create in the first place. He gained prominence in the mid-1960s and he became an emblematic figure of artistic resistance and provocation, as German officials attempted to denounce his work as pornography. His work, entitled Die Grosse Nacht im Eimer (The Big Night Down the Drain), 1962-63, depicts a grotesque figure after the act of masturbation. Critics have speculated as to whether the figure is a boy or dwarf, but regardless, the picture was immediately seized by the public prosecutors, and the case against Baselitz began. He prevailed, though the prosecutors spent two futile years in their conviction attempts. Undeterred, Baselitz continued his unorthodox methods of both production and display, hanging many paintings upside down. While Baselitz would contin