Omega and After: Bloomsbury and the Decorative Arts.(布魯姆斯伯里團體 在裝飾藝術領域的設計成就。由羅傑·弗萊於1913年在倫敦創立的歐米茄工作室，可謂史無前例，其目標是以繪畫而非工藝為背景，創作裝飾藝術。工作室匯集了凡妮莎·貝爾、亨利·高迪耶-布熱斯卡、鄧肯·格蘭特和溫德姆·劉易斯等傑出人才。歐米茄工作室於1919年關閉，但布魯姆斯伯里團體的裝飾藝術創作並未就此停止。凡妮莎·貝爾始終是核心人物；她定居於蘇塞克斯郡的查爾斯頓，與鄧肯·格蘭特繼續設計器物和方案，她的孩子們後來也各自貢獻了自己的力量，昆汀成為陶藝家，安吉莉卡則成為畫家。伊莎貝爾·安斯康姆的著作取材自未出版的資料，生動地捕捉了那個時代的風貌和人物，從波西米亞人到上流社會人士，無不栩栩如生。 )鄧肯‧格蘭特 Duncan Grant, Bathing裸體戶外游泳, 1911 © Tate. Purchased 1931

 Omega and After: Bloomsbury and the Decorative Arts.(布魯姆斯伯里團體  在裝飾藝術領域的設計成就。由羅傑·弗萊於1913年在倫敦創立的歐米茄工作室，可謂史無前例，其目標是以繪畫而非工藝為背景，創作裝飾藝術。工作室匯集了凡妮莎·貝爾、亨利·高迪耶-布熱斯卡、鄧肯·格蘭特和溫德姆·劉易斯等傑出人才。歐米茄工作室於1919年關閉，但布魯姆斯伯里團體的裝飾藝術創作並未就此停止。凡妮莎·貝爾始終是核心人物；她定居於蘇塞克斯郡的查爾斯頓，與鄧肯·格蘭特繼續設計器物和方案，她的孩子們後來也各自貢獻了自己的力量，昆汀成為陶藝家，安吉莉卡則成為畫家。伊莎貝爾·安斯康姆的著作取材自未出版的資料，生動地捕捉了那個時代的風貌和人物，從波西米亞人到上流社會人士，無不栩栩如生。   )鄧肯‧格蘭特 Duncan Grant, Bathing裸體戶外游泳, 1911 © Tate. Purchased 1931


Tate

Nude outdoor bathing
Even though now it is seen as a Hollywood cliché for youthful rebellion, it was standard for men until the nineteenth century and survived well into the next. Nude swimming inspired countless softly homoerotic scenes painted near the turn of the century across Europe and America.
Hyde Park’s Serpentine, the setting of this painting by Duncan Grant, was a men-only swimming spot until the 1930s, with nude bathing still common then. The Serpentine was on the unofficial gay sightseeing list, even if park regulations attempted to bar voyeurs from the lido.
Grant understood the gay viewpoint he was subtly presenting. He emphasises his message with a set of poses that are almost scandalously suggestive - just imagine the water gone for a moment.
This text is an extract from ‘A Queer Little History of Art’, written by Alex Pilcher. You can find the artwork on free display at Tate Britain.
Duncan Grant, Bathing, 1911 © Tate. Purchased 1931

裸體戶外游泳

儘管如今它被視為好萊塢電影中青春叛逆的陳腔濫調，但在19世紀之前，裸體沐浴卻是男性的普遍習俗，並延續到了20世紀。在世紀之交，歐洲和美國湧現出無數以裸體游泳為主題的、帶有柔和同性戀色彩的繪畫作品。

鄧肯·格蘭特這幅畫作的背景是海德公園的蛇形湖，在20世紀30年代之前，這裡一直是男性專屬的游泳場所，而當時裸體沐浴仍然十分普遍。蛇形湖是同性戀者非官方的觀光勝地，儘管公園規定試圖禁止偷窺者進入泳池。

格蘭特深諳他所巧妙表達的同性戀視角。他透過一連串近乎驚世駭俗的暗示性姿勢來強調他的訊息──試想一下，如果湖水瞬間消失，會是怎樣一番景象。

本文節錄自亞歷克斯皮爾徹所寫的《酷兒藝術小史》。您可以在泰特英國美術館免費欣賞這幅畫作。

鄧肯‧格蘭特，《沐浴》，1911年 © 泰特美術館。 1931年購入。

儘管布魯姆斯伯里團體成員的文學作品已被深入研究，但他們活動的另一個方面卻鮮為人知，那就是他們在裝飾藝術領域的設計成就。由羅傑·弗萊於1913年在倫敦創立的歐米茄工作室，可謂史無前例，其目標是以繪畫而非工藝為背景，創作裝飾藝術。工作室匯集了凡妮莎·貝爾、亨利·高迪耶-布熱斯卡、鄧肯·格蘭特和溫德姆·劉易斯等傑出人才。歐米茄工作室於1919年關閉，但布魯姆斯伯里團體的裝飾藝術創作並未就此停止。凡妮莎·貝爾始終是核心人物；她定居於蘇塞克斯郡的查爾斯頓，與鄧肯·格蘭特繼續設計器物和方案，她的孩子們後來也各自貢獻了自己的力量，昆汀成為陶藝家，安吉莉卡則成為畫家。伊莎貝爾·安斯康姆的著作取材自未出版的資料，生動地捕捉了那個時代的風貌和人物，從波西米亞人到上流社會人士，無不栩栩如生。霍華德·格雷獲準沖印和複製早期快照底片，他自己的照片（在鄧肯·格蘭特去世之前就開始拍攝）包括查爾斯頓的獨特記錄，當時查爾斯頓仍然由其創建者之一居住。

Omega and After: Bloomsbury and the Decorative Arts Paperback – April 1, 1994

by Isabelle Anscombe  (Author),‎ Howard Grey (Photographer),‎ John Lehmann (Foreword)

While the literary output of members of the Bloomsbury Group has been thoroughly scrutinized, another aspect of their activity has been largely overlooked, that is, their designs for the decorative arts. The Omega Workshops, started in London in 1913 by Roger Fry, were a venture without precedent, aiming to produce decorative art from a background - not of crafts - but of painting. They boasted such talents as Vanessa Bell, Henri Gaudier-Brzeska, Duncan Grant and Wyndham Lewis. The Omega closed in 1919, but Bloomsbury decorative work did not cease. Vanessa Bell remained the central figure; settled into life at Charleston in Sussex, she and Duncan Grant continued to design objects and schemes, and her children later made their own contributions, Quentin as potter and Angelica as painter. Isabelle Anscombe's text, drawing on unpublished sources, catches the flavour of the time and its characters, from bohemians to haut monde. Howard Grey was allowed to print and reproduce early snapshot negatives, and his own photographs, begun before Duncan Grant's death, include unique records of Charleston still inhabited by one of its creators.

Product details Paperback: 176 pages Publisher: Thames & Hudson; First Edition edition (April 1, 1994) Language: English ISBN-10: 0500273626 ISBN-13: 978-0500273623 Product Dimensions: 7.2 x 0.5 x 9.8 inches

Alberto Giacometti (1901～1966) Giacometti’s Goddesses Have Entered the Temple 孤獨是現實也成就極致：阿爾伯托·賈柯梅蒂回顧展；啊！我充滿描繪巴黎的慾望，想捕捉每個細微場景，任由命運帶領。只有平版印刷蠟筆能勝任，素描或油畫都不行 只有蠟筆才能讓我即席記下第一印象，沒有擦掉或修改的餘地。—阿爾貝托‧賈科梅蒂。賈科梅蒂的畫室：熱內論藝術

Giacometti’s Goddesses Have Entered the Temple

You may stand a little straighter after visiting the Met’s Temple of Dendur, which

Jean Genet, among other critics, saw Egypt in Giacometti’s sculptures, comparing works from this series, the “Women of Venice,” in an essay to a statue of Osiris at the Louvre.Credit...Succession Alberto Giacometti/Artists Rights Society (ARS), NY

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 Alberto Giacometti 1901～1966 Giacometti’s Goddesses Have Entered the Temple   孤獨是現實也成就極致：阿爾伯托·賈柯梅蒂回顧展；啊！我充滿描繪巴黎的慾望，想捕捉每個細微場景，任由命運帶領。只有平版印刷蠟筆能勝任，素描或油畫都不行 只有蠟筆才能讓我即席記下第一印象，沒有擦掉或修改的餘地。—阿爾貝托‧賈科梅蒂。賈科梅蒂的畫室：熱內論藝術

https://en.wikipedia.org/wiki/Alberto_Giacometti




"Everything hangs by a thread, one is always in danger."

Centre Pompidou
ANNIVERSAIRE | “Tout tient à un fil, on est toujours en péril.” Alberto Giacometti
生日| "一切岌岌可危的線, 我們還是在危險." Alberto Giacometti




Le Nez - Alberto Giacometti - Centre Pompidou
Une tête suspendue dans le vide par une corde au centre d’une cage, tel le balancier de Boule suspendue (1931), un nez, équivalent retourné de la Pointe à l’œil (1932) s’allonge démesurément comme une flèche.

CENTREPOMPIDOU.FR


瑞士雕塑家阿爾伯托·賈柯梅蒂(Alberto Giacometti，1901～1966)，為二十世紀最重要的藝術家之一。這次參觀位於上海的余德耀美術館展出阿爾伯托·賈柯梅蒂回顧展，在3000平方米的空間中，分兩個樓層參觀，動線和展間上的安排也將創作分為不同時期，一共展出約250件作品回顧藝術家40多年來的藝術創作軌跡。

孤獨是現實也成就極致：阿爾伯托·賈柯梅蒂回顧展

「我創作並非是為了做出漂亮的油畫或者雕塑。藝術僅是一種眼之所見的呈現方式。不論我看到什麼，它們總能使我感到驚奇而難以捉摸，我不能確認自己究竟看到了什麼。這太複雜。所以我們必須嘗試以最簡單的形式複製，以實…

SUAVEPEI.WORDPRESS.COM

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啊！我充滿描繪巴黎的慾望，想捕捉每個細微場景，任由命運帶領。只有平版印刷蠟筆能勝任，素描或油畫都不行 只有蠟筆才能讓我即席記下第一印象，沒有擦掉或修改的餘地。—阿爾貝托‧賈科梅蒂


由1930年代至其於1966年離世，賈科梅蒂都在不斷探索準確重現眼前景物的方法 「無盡的巴黎」展覽 將會展出賈科梅蒂創作的150幅平版印刷作品及文本，頌揚他最愛的城市和人物。這批作品亦於1959年至1965年期間匯編成為日記式的作品集。

GIACOMETTI: WITHOUT END

VERONIQUE WIESINGER 著⋯⋯




Alberto Giacometti sculpture 'Pointing Man' sells for record breaking $141m as National Portrait Gallery announces his first ever solo exhibition





Picasso's 'Les Femmes d'Alger (Version O)' sold at the same auction for $179m

JACK SHEPHERD
Tuesday 12 May 2015

In a record breaking Christie’s auction in New York, not only didPicasso’s “Les Femmes d’Alger (version O)” set a world record for the most expensive artwork ever sold at auction, but Alberto Giacometti’s “Pointing Man” also became the most valuable sculpture, fetching just over $141 million.


“Pointing Man” or “L’homme au doigt”, a life sized sculpture of a thin man in typical Giacometti style, was created by the Swiss artist in just one night, between midnight and nine the next morning. It was rapidly made for his first exhibition in New York in 1947.

The piece was originally intended to be part of a larger composition, with his left arm positioned to hook around a second figure, the Tate believes. But Giacometti eventually scrapped this idea, considering the sculpture to be a complete work on its own.

Giacometti already held the record for most expensive sculpture ever sold at auction, his famous “The Walking Man” having sold in 2010 for $104 million.


Most expensive artworks sold at auction1 of 15

In light of the latest auction news, The National Portrait Gallery has just announced its first ever exhibition solely consisting of the artist’s work to celebrate the fiftieth anniversary of the artist’s death.

Running from the 15 October 2015 to 10 January 2016,Giacometti: Pure Presence will feature over 60 of his works, including paintings, sculptures and drawings from throughout his entire career.
READ MORE: HOW CAN A PICASSO BE TRULY WORTH $179M?
WHY SMALL IS BEAUTIFUL FOR GIACOMETTI?


Some rare loans from private collections will be included in the series, which will focus on the artist’s lesser known ‘double-life’. While Giacometti is best known for his tall, thin figures, the gallery will put emphasis on the portraits produced after the artist claimed ‘it was necessary to abandon the real.’

'Chariot' by Swiss artist Alberto Giacometti

Standing at the centre of the exhibition will be one of his most celebrated works, “Woman of Venice VIII”, a piece that represents the bond between his famous sculptures and the portraits of the women in his life.

“Giacometti is widely celebrated as one of the giants of modern art, but his almost continuous involvement with portraiture is less well known,” Paul Moorhouse, Curator of Giacometti: Pure Presence, said.

“In devoting individual rooms to his main models, the exhibition exposes the singular, obsessive and intense nature of Giacometti’s portraits. Repetition, variation, accretion and dissolution are revealed as vital elements in his extraordinary vision.’

Giacometti: Pure Presence will take place between the 15 October 2015 and 10 January 2016, at the National Portrait Gallery, London.




Musée Rodin
Robert Doisneau, sculpteurs et sculptures : la nouvelle exposition-dossier au musée ‪#‎Rodin‬ de Meudon !

Du 14 mars au 22 novembre 2015.


Le saviez-vous ? c’est au Musée Rodin à Meudon que Robert Doisneau, amoureux de la sculpture, a pris un de ses derniers clichés en 1993. Juste retour des choses, c’est à Meudon que sera présenté, à partir du 14 mars, un florilège de 30 photographies.


En savoir plus : http://www.musee-rodin.fr/…/robert-doisneau-sculpteurs-et-s…


Photographie : Alberto Giacometti dans son atelier, Paris 1957, © Atelier Robert Doisneau




The man who bought "one of the great 20th-century sculptures.’’


Steven A. Cohen Was Buyer of Giacometti's 'Chariot,' for $101 Million


Mr. Cohen, the hedge fund billionaire, was the sole bidder for the sculpture, among the artist’s finest.


ARTSBEAT.BLOGS.NYTIMES.COM|由 CAROL VOGEL 上傳




MoMA The Museum of Modern Art


Alberto Giacometti was born today in 1901. What do you imagine "Man Pointing" is gesturing at? http://bit.ly/ZTvEnA


[Alberto Giacometti. "Man Pointing." 1947]




賈科梅蒂的畫室：熱內論藝術
這本書可能是重版以前用副標題為書名

原作名: L'ATELIER D'ALBERTO GIACOMETTI
作者 : [法]讓•熱內
譯者 : 程小牧
出版社:吉林出版集團有限責任公司
出版年: 2012-8-15
1954年，法國作家熱內通過薩特、科克託等朋友與藝術家賈科梅蒂相識，並應邀為藝術家做模特。 從1954至1958年，熱內時常拜訪賈科梅蒂位於巴黎十四區伊伯利特-曼東街的畫室。 這一相遇所激起的精神探索、交流和純淨的友誼，被熱內記錄在《賈科梅蒂的畫室》裡。 熱內論藝術的文字極少，本書收錄的幾篇獨具風格的藝術筆記，是熱內僅存的直接闡述自己的生命觀和藝術觀的文字。

《賈科梅蒂的畫室》是我所讀過的最好的藝術評論。

——畢加索

熱內向我們證明，天才並非某種天賦，而是人在絕境中開闢的出路。

善只是幻覺，而惡是虛無，它在善的廢墟上造出自己。

——薩特

有一天，熱內應被視為道德家。 我們總習慣於把道德家混同與衛道士。

詩是一種道德，內在、自律，拒絕強制性的範疇和機制。

——讓• 科克托

熱內非常像賈科梅蒂為他畫的肖像，賈科梅蒂把握住了這個人強烈

的情感、嚴格的控制力和近乎...

(展開全部)


1954年，法國作家熱內通過薩特、科克託等朋友與藝術家賈科梅蒂相識，並應邀為藝術家做模特。 從1954至1958年，熱內時常拜訪賈科梅蒂位於巴黎十四區伊伯利特-曼東街的畫室。 這一相遇所激起的精神探索、交流和純淨的友誼，被熱內記錄在《賈科梅蒂的畫室》裡。 熱內論藝術的文字極少，本書收錄的幾篇獨具風格的藝術筆記，是熱內僅存的直接闡述自己的生命觀和藝術觀的文字。

《賈科梅蒂的畫室》是我所讀過的最好的藝術評論。

——畢加索

熱內向我們證明，天才並非某種天賦，而是人在絕境中開闢的出路。

善只是幻覺，而惡是虛無，它在善的廢墟上造出自己。

——薩特

有一天，熱內應被視為道德家。 我們總習慣於把道德家混同與衛道士。

詩是一種道德，內在、自律，拒絕強制性的範疇和機制。

——讓• 科克托

熱內非常像賈科梅蒂為他畫的肖像，賈科梅蒂把握住了這個人強烈

的情感、嚴格的控制力和近乎宗教式的沉靜的驚人結合。

——薩義德
作者簡介 · · · · · ·


讓•熱內（Jean Genet 1910—1986），法國作家。 出生後被遺棄，在教養院長大。 早年流浪、偷竊、賣淫，多次被捕入獄。 在獄中開始寫作詩歌和小說，包括《死囚》、《鮮花聖母》、《小偷日記》(台北:時報文化)等。 作品被紀德、科克託等人發現，嘆為天才，他們與薩特等數十位作家聯名向法國總統請願，要求終身赦免熱內。 出獄後，熱內轉入戲劇創作，代表作有《女僕》、《陽台》、《屏風》等，聲譽鵲起。 後參與社會運動，支持被壓迫者的反抗，尤其是巴勒斯坦民族解放運動。
目錄 · · · · · ·


愛的殘痕——熱內論藝術（代序）

賈科梅蒂的畫室

倫勃朗的秘密

一本撕碎的倫勃朗之書的殘餘

走鋼絲的人

The Guardian

“I do not work to create beautiful paintings or sculpture. Art is only a means of seeing. No matter what I look at, it all surprises and eludes me, and I am not too sure of what I see.”

On the edge of madness: the terrors and genius of Alberto Giacometti

He drank with Sartre, mocked Picasso and took silent walks with Beckett –…

THEGUARDIAN.COM

The Metropolitan Museum of Art, New York

Happy birthday to sculptor and painter Alberto Giacometti. Without volume or mass, his figures often appear weightless and remote, their eerie otherworldliness accentuated by the mat shades of gray and beige paint applied to their bronze patinas.

Giacometti (Swiss, 1901–1966) | The Forest (Composition with Seven Figures and a Head) | 1950

METMUSEUM.ORG

廖志峰

忽然有讀者在找未完成的肖像這本書
這本2002年出版的書
為何忽然有人在找呢
我很好奇
幾天前錢公子貼出寂寞大師的原作
我才恍然大悟
原來是電影的緣故
也許該找時間一看
這本書當年由留法的廖仁義博士推薦
我覺得很有趣就出版了
一晃十多年了
他後來接了巴文中心主任
我第一次到巴黎時還特別去拜訪他
一方面也是好奇辦公室的所在
記得辦公室在河左岸莫奈美術館附近
印象很深
或許是巴黎的緣故
巴黎和淡水的街道都曾出現在我的夢境中
非常真實

這本有趣的小書
作者是一名美國記者
他去採訪賈克梅第卻成了了他的模特兒
畫了十八天
畫像並未完成
卻寫出了一本書

那時出書好像不用太費力
也許是自己很不經心
書大約三四年賣完了一刷
只是也沒再版
我這兩天又翻出這本書
每本書都是一個故事
書後都是自己的時間座標

Pritzker Prize Goes to Peter Zumthor普立茲克獎頒給彼得·卒姆托2009

普立茲克獎頒給彼得·卒姆托

作者：羅賓波格雷賓

發表日期：2009年4月12日

他並非一位名聲顯赫的建築師，也不是博物館和音樂廳計畫候選名單上的常客，在建築圈外也鮮為人知。他設計的建築不多，最廣為人知的作品是位於阿爾卑斯山某村落的溫泉療養院。過去30年來，他一直默默無聞地在瑞士山區一個偏遠的小村莊辛勤耕耘。

Pritzker Prize Goes to Peter Zumthor

By ROBIN POGREBIN

Published: April 12, 2009

He is not a celebrity architect, not one of the names that show up on shortlists for museums and concert hall projects or known beyond architecture circles. He hasn’t designed many buildings; the one he is best known for is a thermal spa in an Alpine commune. And he has toiled in relative obscurity for the last 30 years in a remote village in the Swiss mountains.

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But on Monday the Swiss architect Peter Zumthor is to be named the winner of the 2009 Pritzker Prize, the highest recognition for architects.

“He has conceived his method of practice almost as carefully as each of his projects,” the citation from the nine-member Pritzker jury says. “He develops buildings of great integrity — untouched by fad or fashion. Declining a majority of the commissions that come his way, he only accepts a project if he feels a deep affinity for its program, and from the moment of commitment, his devotion is complete, overseeing the project’s realization to the very last detail.”

For Mr. Zumthor, 65, winning the Pritzker, which is awarded annually to a living architect and regarded as architecture’s equivalent of the Nobel Prize, is a kind of vindication. “You can do your work, you do your thing, and it gets recognized,” he said in a telephone interview from Haldenstein, the Swiss village where he lives and works.

Mr. Zumthor is the 33rd laureate to receive the prize, which consists of a $100,000 grant and a bronze medallion and is awarded at a different architecturally significant location each year. This year’s ceremony is to be held on May 29 in Buenos Aires.

The project most closely associated with Mr. Zumthor is the spa he completed in 1996 for the Hotel Therme in Vals, an Alpine village in Switzerland. Using slabs of quartzite that evoke stacked Roman bricks, Mr. Zumthor created a contemporary take on the baths of antiquity.

He is also known for his use of wood, as in St. Benedict Chapel in Sumvitg, Switzerland, which evokes a giant hot tub.

The Pritzker jury praised Mr. Zumthor’s use of materials. “In Zumthor’s skillful hands, like those of the consummate craftsman, materials from cedar shingles to sandblasted glass are used in a way that celebrates their own unique qualities, all in the service of an architecture of permanence,” the citation said, adding, “In paring down architecture to its barest yet most sumptuous essentials, he has reaffirmed architecture’s indispensable place in a fragile world.”

Mr. Zumthor said that his projects generally originated with materials. “I work a little bit like a sculptor,” he said. “When I start, my first idea for a building is with the material. I believe architecture is about that. It’s not about paper, it’s not about forms. It’s about space and material.”

Mr. Zumthor’s buildings do not share a common vernacular. They range from tall and circular to low-slung and boxy. For his Field Chapel to St. Nikolaus von der Flüe, completed in 2007, in Mechernich, Germany, Mr. Zumthor formed the interior from 112 tree trunks configured like a tent. Over 24 days, layers of concrete were poured around the structure. Then for three weeks a fire was kept burning inside so that the dried tree trunks could be easily removed from the concrete shell. The chapel floor was covered with lead, which was melted on site and manually ladled onto the floor.

For an art museum in Bregenz, Austria — a four-story cube of concrete, steel and glass that opened in 1997 — Mr. Zumthor used glass walls that at night can become giant billboards or video screens.

His Kolumba Art Museum in Cologne, Germany, completed in 2007, rises out of the ruins of the Gothic St. Kolumba Church, destroyed in World War II. The Pritzker jury called the project “a startling contemporary work, but also one that is completely at ease with its many layers of history.”

Mr. Zumthor said that he deliberately kept his office small— no more than 20 people. “That’s the way it’s going to be so that I can be the author of everything,” he said.

“I’m not a producer of images,” he added. “I’m this guy who, when I take on a commission, I do it inside out, everything myself, with my team.”

One of Mr. Zumthor’s best-known designs never came to fruition. In 1993 he won the competition for a museum and documentation center on the horrors of Nazism to be built on the site of Gestapo headquarters in Berlin. Mr. Zumthor’s submission called for an extended three-story building with a framework consisting of concrete rods. The project, called the Topography of Terror, was partly built and then abandoned when the government decided not to go ahead for financial reasons. The unfinished building was demolished in 2004.

Born in Basel, Switzerland, Mr. Zumthor as a teenager served a four-year apprenticeship with a cabinetmaker. He studied at the Basel Arts and Crafts School and spent a year at Pratt Institute in New York. In the 1970s he moved to Graubünden, Switzerland, to work for the Department for the Preservation of Monuments. He established his own practice in 1979 in Haldenstein, where he and his wife, Annalisa Zumthor-Cuorad, brought up their three children.

Mr. Zumthor said that his village had been an inspiration and a refuge. “It helps you concentrate,” he said. “And also collaborators coming here are not distracted by all the things of the big city. To come up with me, you’re in the Alps. It’s sort of a commitment. It’s a beautiful feeling. Of course you have to like the mountains.”

Georg Baselitz (1938- 2026)

Georg Baselitz (1938- )沒現身在The Oxford Companion to Twentieth Century Art.

IN GERMANY, THE NEW EUROPEAN Painters have addressed themselves directly or indirectly to the problems of postwar Europe. How can the ancient structures of European society be put back into repair? What is the role of friends and family? Can short-lived amours give us a sense of our own identity? Or is the daydream a better guide? Can everyday things have something to teach us? If so, how can that something be set out in painting?

Someone who has tussled with these questions is Georg Baselitz, who was born Georg Kern in 1938 in a village called Deutschbaselitz in Saxony. After Saxony was overrun by the Russians, he stuck it out in the East until he was old enough to move to Berlin. Bent on making art, he took half the name of his birthplace, by way of a keepsake, and enrolled in the art schools of the former German capital.

National Gallery of Art


Georg Baselitz has come to be regarded as a pioneer in the renewal of figurative painting and as a founder of the so-called international neo-expressionist movement. In the late 1950s Baselitz began to develop his own style of figurative painting, challenging the orthodoxy of abstraction in the twentieth century. Baselitz produced a group of paintings from 1965 to 1966, which he called his Helden or Hero paintings, of which “Man in the Moon—Franz Pforr” is an early example.





Georg Baselitz - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Georg_Baselitz







Georg Baselitz (born 23 January 1938) is a German painter. He studied in East Germany, before moving to what was then West Germany. Baselitz's style is ...




In October 1963, the work, as well as the picture Der nackte Mann, shown in the West Berlin gallery Werner & Katz, was seized by the public prosecutor's office because ofimmorality. The criminal proceedings ended in 1965 with the return of the pictures.[citation needed]





Die große Nacht im Eimer

Artist Georg Baselitz
Year 1963
Type oil on canvas
Dimensions 250 cm × 180 cm (98 in × 71 in)
Location Museum Ludwig, Cologne






MoMA | The Collection | Georg Baselitz (German, born 1938)

www.moma.org/collection/artist.php?artist_id=366







German painter, draughtsman, printmaker and sculptor. After attending grammar school in Kamenz, near Dresden, he began studying painting at the ...


http://www.britishmuseum.org/whats_on/exhibitions/germany_divided.aspx




Germany divided
Baselitz and his generation

From the Duerckheim Collection
6 February – 31 August 2014
Free

Room 90 /Open late Fridays




Featuring over 90 extraordinary drawings and prints, this exhibition explores how six key post-war artists redefined art in Germany on both sides of the Iron Curtain.
All the artists in this exhibition came originally from eastern Germany and migrated to the West, the majority before the borders were sealed in 1961. Some had trained in East Germany, but it was in the West that their careers were established. As a generation, they came out of the experience of growing up in the aftermath of a Germany defeated in the Second World War, and its subsequent partition in 1949.
Much of their work is informed by the sense of collective guilt experienced by the German people over its recent past, the country’s physical and psychological destruction, and the division of the country by two opposing ideologies – the democracies of the free West and the Communist system of the Soviet bloc.
These remarkable works on paper, on public display for the first time, are on loan from the private collection of Count Christian Duerckheim. Half of them are by Georg Baselitz, with the remainder by Markus Lüpertz, Blinky Palermo, A R Penck, Sigmar Polke and Gerhard Richter. 34 of the works in the exhibition, including 17 by Baselitz, have been generously donated to the British Museum by Count Duerckheim.
The gift includes a group of 11 drawings by Baselitz from 1960 to the late 1970s, together with prints from the same period. They cover the principal phases of his career from the Pandemonium drawings of the early 1960s, the development of his ironic ‘Heroes’ in the mid-1960s, and the subsequent fracturing of his motifs to the eventual inversion of the motif from the late 1960s.
Other works on display include Richter’s Pin-up andInstallation drawings, the characteristic Ice Age-meets-cybernetics stick-figures of Penck, as well as sculptural drawings by Lüpertz and Palermo, and a drawing and sketchbook by Polke satirising the ‘economic miracle’ of post-war reconstruction in West Germany.
The donation completely transforms the Museum’s holdings of German post-war graphic art and enables the Museum to trace the history of drawings and printmaking in Germany from the time of Dürer to the present.



Ein neuer Type('A New Type'), 1965, Georg Baselitz (b.1938), grey and yellow ochre watercolour, charcoal, graphite and white pastel on paper. Presented to the British Museum by Count Christian Duerckheim, Reproduced by permission of the artist. © Georg Baselitz PreviousNext

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Catalogue

Germany Divided: Baselitz and his generation
This title was published in January 2014 and includes 130 beautiful colour illustrations. Available in hardback with jacket.

Georg Baselitz: 'Am I supposed to be friendly?'

From his sculpture of a Hitler salute to his comments on women artists, Georg Baselitz has always been a provocative figure. After 50 years exploring the state of Germany, he tells Nicholas Wroe why he turned to America for his new showEmail

• 
• • Nicholas Wroe
  • The Guardian, Friday 14 February 2014 14.00 GMT
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George Baselitz in his studio. Photograph: Martin Muller/Gagosian Gallery

In 1958 Georg Baselitz, then a 20-year-old art student recently arrived in West Berlin from East Germany, attended a touring exhibition of contemporary American painting staged at his university. "Until then I had lived first under the Nazis, and then in the GDR," he explains. "Modern art just did not occur so I knew almost nothing. Not about German expressionism, dadaism, surrealism or even cubism. And suddenly here was abstract expressionism. Paintings by Pollock, De Kooning, Guston, Still and many others, in the very buildings where I took classes every day. It was overwhelming. And not just for me. Even the professors had not seen this sort of work before."

Baselitz recalls that the artist he most admired from the exhibition was Jackson Pollock, but the one he understood best was Willem de Kooning, "because he was European". It was a distinction that would characterise his wider response to the show, and point towards the idiosyncratic road his career would take.

"The exhibition was a great shock not just because of the art," he says, "but also because while we knew that the British, the French and the Russians had something like culture, we didn't expect it from the Americans. For us the Americans were just show-offs who had absolutely nothing to offer intellectually. But now they had not only won the war, they also had the culture. This show was meant as an educational event for us misguided Germans, after which art, and artistic society, was meant to find the correct way. And most of my fellow students really did take something from the American exhibition and became integrated into the entire thing."

But for Baselitz the show marked the beginning of a different path. "I had to make a decision what to do with this new information. I knew that we had lost the war, and that we were lost. And I now also realised that I was not welcome in this culture because I was not a modern person. What I wanted to do was something that totally contradicted internationalism: I wanted to examine what it was to be a German now. My teachers were the first to tell me that I was wrong. They said it was anachronistic. We had lost the war, but now we were free and liberated and there were wonderful times ahead in a wonderful world. But I disagreed. I had another view."

In truth Baselitz had always been going his own way. He had been forced out of East Germany after being accused by the authorities of "political immaturity" at his first art school. Five years after arriving in the west, his debut gallery show attracted the attention of the police and he was fined for displaying an obscene picture that apparently depicted a masturbating dwarf. In the years since, both Baselitz's art (a 1980 Venice biennale sculpture was accused of representing a Hitler salute) and his comments (last year he was quoted in an interview claiming that women artists "simply don't pass the test"), have caused controversy. But now, over half a century after that Berlin exhibition, and his refusal to join in with the artistic orthodoxy, Baselitz has returned to Willem de Kooning in an exhibition entitled Farewell Bill, which opens in the Gagosian Gallery in London this week.

The new paintings are a marked departure from recent works. Described as Remixes, these involved a riffing – apparently at great speed – on some of his most renowned previous paintings, and were greeted by a decidedly muted critical reaction. In contrast the De Kooning paintings – part self-portraits part homage – are large and attentively worked and, in a rare synchronicity of timing, form just one of three exhibitions in London over the next few months that feature different aspects of Baselitz's career. In March the Royal Academy will stage Renaissance Impressions: Chiaroscuro Woodcuts from Baselitz's own collection, an important influence on both his style and subject matter. And Germany Divided: Baselitz and His Generation has just opened at the British Museum, featuring works on paper from 1960 to the late 70s from the collection of Count Christian Duerckheim, who has recently donated to the museum a significant quantity of work by Baselitz, as well as by other German artists such as Markus Lüpertz, Sigmar Polke andGerhard Richter.

Licht wil raum mecht hern. Copyright Georg Baselitz. Courtesy of the Gagosian Gallery Photograph: georg baselitz

All three shows cast light on Baselitz as simultaneously an international artist and an intensely German artist, reflecting the way his place on the global scene is always linked to his own past. "The German title of the De Kooning show is 'Willem raucht nicht mehr'", says Baselitz, speaking in his vast lakeside studio, designed by superstar architects Herzog & de Meuron, just outside Munich. "It literally translates as 'Willem no longer smokes', which also means in German 'is no longer alive'." The individual painting titles are anagrammatic variations on this phrase. "Sometimes they sound like children's language, or sometimes they sound like old German," he says, but as the catalogue essay notes, you might need to understand the Saxony dialect of his birthplace to get all the references. This is a very typical touch from an artist who says: "while I have always moved around a lot, I've always taken materials from that place with me. That's been important." One of the most important of those materials he has carried around is his own name.

Baselitz was born Hans-Georg Kern in 1938 in the Saxony town of Deutschbaselitz. As an art student in West Berlin he adopted the name of his home town, where his father was a primary school teacher and Nazi party member, and from where Baselitz can remember seeing Dresden burning in the distance after the firebombing of 1945. A few weeks after that event his family were sheltering in the basement of a building just outside the town when it was hit by artillery. During a pause in the shelling – "which we thought was a ceasefire, but was in fact just a breakfast break" – his mother loaded a handcart and set out with her children to escape the Russians advancing from the east. Smoke was still coming out of Dresden's destroyed buildings as they passed through the city, just one family among thousands of people trekking on foot across the country. "We wanted to get to Bavaria because we were told that the Americans were there. But we only made it to a village just to the south of Dresden when the Russians arrived."

By the time he was a teenager it was clear that Baselitz was not fitting into the GDR system and, after being expelled from art school, he effectively became an economic refugee. "When I stopped being a student I stopped getting vouchers that would allow me to buy groceries. I was told if I worked in industry for a year I could return to art school as I would by then have the right mindset. But I knew that would destroy me and so I chose to go to the west."

He describes himself as very "impatient" when he arrived in West Berlin. "I wanted to see results immediately and didn't start out reasonably, I started out radically." He wrote manifestos, one of which culminated with the line "All writing is crap." He found inspiration in the Prinzhorn Collection of art made by the inmates of a mental institution – some of which had figured in the Nazis' Degenerate Art exhibitions – and he embraced the psychologically extreme work of Antonin Artaud. Although he says it wasn't his intention to upset people, when his painting The Big Night Down the Drain was seized by the police in 1963 he also realised "it was fun to do something that people would be upset about. But I also wanted to do something extraordinary and serious and I felt very privileged to have the artist's power to contradict. You feel like you are the founder of a new religion, even if your congregation is only your wife and kids."

Baselitz had married Elke Kretzschmar in 1962 and they have two sons. He says that throughout most of the 60s "the chances for an artist, let alone an artist like me, to impose yourself and to make a living from your art was nil". But during this period his art made remarkable progress. Rejecting the orthodoxy of what was called tachism – the European version of abstract expressionism – he not only introduced figures into his work, but began to use specific German archetypes, motifs and folklore. But Baselitz's shepherds, woodsmen, hunters and so on were not conventionally heroic – although the paintings would later be called the Helden (heroes) series. Rather they were bedraggled, broken and shambolic figures rendered in messily desolate landscapes.

A New Type. Copyright Georg Baselitz. Courtesy of the British Museum

"In hindsight I think those pictures are complete pieces of art. But at the time it felt very chaotic and mixed up. I thought 'this can't be all' and I had to come up with new ideas." He set out on a series of strategies to disrupt both the work, and his making of the work. He painted with the canvas on the floor. (The floor of his studio closely resembles Jackson Pollock's on Long Island, with the difference that Baselitz doesn't insist that you wear protective shoes.) Then he started to "fracture" paintings into sections, with obvious echoes of a divided Germany, before he adopted the technique for which he is best known today, painting his motifs upside down – which directs both his, and the viewers, attention to the abstract aspects of the figurative work. He began to use his hands instead of brushes and when he moved to sculpting in wood he opted for the crude attack of the chainsaw over the precision chisel.

It was the row over his wooden sculpture at the 1980 Venice biennale that first brought him to an international audience. "I was in the German pavilion with Anselm Kiefer, another provocative artist, and it never occurred to me that my sculpture was doing a Hitler salute. But when a German TV channel reported on it they played the "Horst Wessel Song" [the Nazi anthem] to accompany their story. It was outrageous. But within a week I was getting approaches from all over the world to collaborate."

He says just being a German artist in the wider world could be contentious. "You sometimes felt that people were standing over you. Some of the prejudices that existed towards Germans were justified, but there were many prejudices. My work was also not really American-oriented, as Richter's is for example, and is instead very German and sometimes a bit obscene. Add that to being a kind of loud artist and then you will have encounters. Many of my advisers, especially my wife, say that I am too bold. But what am I supposed to do? Am I supposed to make statements that are politic? Am I supposed to be friendly? That's just not who I am."

No surprise then that he hasn't changed his mind about women artists. "Following the uproar I did think about this and it is a fact. I used to be a professor and 80% of my students were women. So there is a possibility for women and girls to study art, but they are less successful than the men. You can count and the numbers will prove me right." And he also casts a jaundiced eye over contemporary Germany, claiming it is rife with "injustice, vanity and dominance by the politicians" and hasn't yet properly dealt with its own history in terms of the Third Reich and the GDR. After reunification in 1990 he was not surprised to learn that the Stasi held a file on him, but was shocked that it was not for his correspondence with artists in the east when he was an adult, but his activities when at school. He is equally disillusioned with the stream of public intellectuals, such as Günter Grass, who took decades to acknowledge their membership of the SS. "These people dominated our culture. They were role models. They were mentioned in school textbooks. It is very depressing. It shows that no one is really free."

Willem raucht nicht mehr. Copyright Georg Baselitz. Courtesy of the Gagosian Gallery Photograph: Georg Baselitz

But for all his provocations about women artists, two of them played important roles in his return to De Kooning. "I saw Tracey Emin's drawing at the biennale. I like her very much, and as I looked at her drawings I thought here was De Kooning. I had also seen De Kooning in a Richard Prince exhibition at the Guggenheim. Cecily Brown, another artist I like, also gets inspiration from De Kooning. This was all very interesting. When I look at the new art scene I find there is a lot of direct occupation – that is, not a copy, but it seems as if the art of the past has become the foundation of the present. And so I said I'm going to paint like De Kooning."

Baselitz turned 76 last month and still works every day in the studio: "I used to be able to paint all day and all night, but these days it is only for three hours in the morning. Working the wood is especially hard work, but two trunks have just been delivered from the Black Forest, so there is more to do." His current work in progress is a series of six, four-metre high, nude self-portraits. "Every now and again I do a self-portrait, and always in quite a strange manner. There are many models for the nude self-portrait: Lucian Freud, Schiele, Stanley Spencer, whose painting I don't like, but I did see a pencil nude portrait that was interesting. In a way it is a move away from De Kooning, I knew I had to do something enormous and silly."

• Farewell Bill is at the Gagosian Gallery, London WC1, until 29 March.Germany Divided: Baselitz and His Generation is at the British Museum, London WC1, until 31 August. Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna is at the Royal Academy, London W1, from 15 March.