格奥尔格·巴泽利茨全部影视作品
首发于 qinglite.cn，统计截止日：2024-12-23
 大头 | - |
| P.D. Zeichnung | - |
| Big Night Down the Drain | - |
| 头 | - |
| 牧民 | - |
| 叛逆者 | In the mid-1960s, Baselitz embarked on a series of paintings depicting male figures that dominate the space of the picture. While they bear some relation to the heroic figures of Social Realist art, they were also portrayed as wounded or dishevelled. According to the artist, this figure holds the pole of a flag in one hand, while the other hand is bandaged. Details such as the burning house appear in other works in the series. 'I was concerned with a very direct, almost illustrative method of representation', Baselitz has said of this work. |
| 分裂的英雄 | - |
| 瓦尔达·贝特 | - |
| Peitschenfrau | - |
| 肢解的狗 | - |
| 樵夫 | - |
| 它的头上的木头 | The Wood on its Head is Baselitz's first inverted painting, in which he upends his subject matter to frustrate recognition of the objects depicted. Its motif, based on a picture by the early 19th century painter Louis Ferdinand von Rayski, is similar to those found in his previous work, but here he makes them secondary to the physical properties of the medium. This radical approach troubles our ability to interpret the picture, leaving us wondering whether we are now looking at an abstraction or, simply, a conventional landscape upturned. We might read it as symptomatic of Baselitz's continuing attempts to find a different path from those that had been dominant when he emerged - the gestural abstraction of Paris and New York, and the Socialist Realism of the Eastern bloc. |
| 三臂裸体 | - |
| 在厨房椅子上的女性裸体 | Baselitz emphasises the very physical nature of making his large format prints, seeing the process of cutting into the surface of lino or wood as an act of the body rather than the mind. This female nude is a portrait of Baselitz’s wife, Elke. Baselitz began by rapidly drawing the outlines of the figure directly onto a sheet of linoleum, then cutting into it, adding dense networks of lines. After working on the print for two days in February 1977 he put it aside, then returned to it and completed it in May 1979. |
| 模型雕塑 | Model for a Sculpture, Baselitz's first sculpture, typifies his crude treatment of wood in this medium - a treatment analogous to his treatment of paint in his previous work. Similar in its primitivizing tendency to the work of artists such as Ludwig Kirchner, Baselitz found inspiration for the approach in African sculpture, believing it to offer a model for a more spontaneous expression of movement and human emotion. The work was first exhibited in the West German Pavilion of the Venice Biennale in 1980. Baselitz had originally intended to show paintings, but changed his mind at a late stage and sent only this sculpture. The work immediately sparked controversy, since the raised arm gesture of the figure is similar to the that of a Nazi salute; the red and black coloring of the figure has also been interpreted as a reference to the colors of the Third Reich. However, other sources for the sculpture suggest themselves: perhaps the Futurist bronze, Unique Forms of Continuity in Space, by Umberto Boccioni; and Baselitz has also said that the work was inspired by an edible souvenir available at a market in Dresden. The gesture of the figure - a figure bound to the ground by a block of wood - might simply communicate frustration. |
| 再见 | Baselitz began to paint figures upside-down in the late 1960s, insisting that viewers should concentrate on the lines and marks of the painting rather than its resemblance to reality. He worked on this painting over a number of weeks, repeatedly adjusting the position of the two figures further apart from each other. The title Adieu reflects this sense of a growing separation: 'one of them is only half there, while the other is going away', the artist wrote. Asked about the chequerboard background, Baselitz recalled that, 'a starter's flag of a grand prix race was floating in my imagination'. |
| 跳跃的人 | - |
| 头和瓶 | Head and Bottle best showcases Georg Baselitz's vigorous energy as a printmaker: the monumental print is 1000 x 485 mm in scale. Although the work depicts the bust of a man, through inversion the image is confused and hovers on the verge of abstraction. Each layer of color appears to be torn away from the surface, revealing the color underneath. It is similar in approach to some paintings that the artist produced around the same time, one depicting a man drinking from a glass, another showing a figure eating an orange. In a sense, the postures of the figures, and the objects they hold, simply accentuate the viewer's confusion when they appear upside-down, but some critics have also suggested that these everyday activities take on the character of a sacred ritual when they are depicted at such scale, and in such an unusual manner. |
| 荆棘冠 | - |
| 从前面 | - |
评论