Georg Baselitz
Adler
Artist
Georg Baselitz
Additional Description
Zinkätzung über Monotypie in schwarz, rot, gelb und grau auf Velin. (1974/19)77. Ca. 23 x 17 cm (Blattgröße ca. 30 x 27 cm). Mit Unikatcharakter. Signiert und datiert unten rechts, bezeichnet unten links sowie mit der Blindprägung „für Franz Dahlem“ unten mittig.
Period
(1938 Deutschbaselitz/Sachsen)
Technique
Druckgrafik
Provenance
Privatsammlung;
Privatsammlung, Süddeutschland.
Privatsammlung, Süddeutschland.
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Description
The present work is one of a series of prints in which Georg Baselitz transforms the motif of the eagle into an expressive, eruptive visual language. Between monotype and etching, the sheet is characterised by an exciting relationship between the dissolution of form and figurative suggestion. The black and red colour scheme, complemented by grey and yellow tones, does not heroise the eagle, but rather integrates it into a multi-layered play of symbolism and fragmentation.
With the eagle, Baselitz takes up a historically and politically charged motif that runs like a red thread through his entire oeuvre. Baselitz never reflects on the questions of identity and nationality associated with the heraldic animal in an affirmative manner, but rather exposes them to critical scrutiny.
Baselitz was already working with the motif of the eagle in the 1960s, for example in drawings and paintings that mark his early exploration of German pictorial tradition and its revaluation. In his prints as well as in his paintings, the eagle becomes a symbol of a fall, of disruption, of an identity in upheaval.
The blind embossing "Für Franz Dahlem" refers to the close connection to the Munich-born gallery owner, who exhibited Baselitz as early as the 1960s and was one of his early patrons.
Jahn 182
With the eagle, Baselitz takes up a historically and politically charged motif that runs like a red thread through his entire oeuvre. Baselitz never reflects on the questions of identity and nationality associated with the heraldic animal in an affirmative manner, but rather exposes them to critical scrutiny.
Baselitz was already working with the motif of the eagle in the 1960s, for example in drawings and paintings that mark his early exploration of German pictorial tradition and its revaluation. In his prints as well as in his paintings, the eagle becomes a symbol of a fall, of disruption, of an identity in upheaval.
The blind embossing "Für Franz Dahlem" refers to the close connection to the Munich-born gallery owner, who exhibited Baselitz as early as the 1960s and was one of his early patrons.
Jahn 182