Georg Baselitz (b. 1938)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Georg Baselitz (b. 1938)

Bildneunundzwanzig (Picture 29)

Georg Baselitz (b. 1938)
Bildneunundzwanzig (Picture 29)
signed, titled and dated twice 'G. Baselitz Bildneunundzwanzig 20.VI.94 10.VIII.94' (on the reverse)
oil on canvas
114¼ x 177¼in. (290 x 450cm.)
Painted in 1994
Acquired directly from the artist by the present owner.
Amsterdam, Stedelijk Museum, Georg Baselitz; recente schilderijen. Couplet III, October 1994-January 1995.
Zurich, Galerie Jamileh Weber, Georg Baselitz bei Jamileh Weber, March-May 1995 (illustrated in colour, p. 53).
Bologna, Galeria d'Arte Moderna, Georg Baselitz, May-September 1997 (illustrated in colour, p. 145).
Humlebaek, Louisiana Museum of Modern Art, Georg Baselitz - Maler, February-June 2006, no. 52 (illustrated in colour, pp. 62-63).
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. VAT rate of 5% is payable on hammer price and at 17.5% on the buyer's premium. Please note Payments and Collections will be unavailable on Monday 12th July 2010 due to a major update to the Client Accounting IT system. For further details please call +44 (0) 20 7839 9060 or e-mail

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Lot Essay

This lot may be viewed by appointment only. To arrange a viewing please contact the department on +44 207 389 2221.

Bildneunundzwanzig (Picture 29) is a vast four and a half metre long canvas belonging to a radically new group of paintings that Baselitz made in the summer of 1994. Adopting the horizontal format that the artist has adopted periodically throughout his career, this large canvas is one of a new breed of paintings that Baselitz began making on unstretched canvas laid out on the floor in the early 1990s and which in many cases revisit motifs and ideas from his own earlier work.

This new approach, echoing most famously Jackson Pollock's drip technique of painting on the floor, was part of a new working practice adopted by Baselitz that was aimed at reinvigorating motifs from his earlier work as well as encouraging him to paint in a different manner. 'It's precisely this painting technique that separates these from the previous paintings,' he wrote in a prepared text about his new works in November 1993, 'One reason, for instance, is that I don't have a wide or full view of what I've done while painting in order to get an overview I would have had to climb up a ladder. But I didn't want to. So I can only see a little bit that I'm doing on the large surface - I stand, walk, and kneel on the canvas while I squeeze out my colours.' (G. Baselitz 'Painting Out of my Head, Upside Down, Out of a Hat' November 1993 quoted in G. Baselitz, exh. cat., Bologna, 1997. p. 45)

In this work the partial figure of a nude woman emerges against a myriad layering of graphic patterning and painterly texture. A monumental and totemic image, her heavy volumetric form seems to float over the canvas as if in a dream. This dream-like quality is one prevalent in many of Baselitz's 1990s canvases and in particular his works known as the 're-mix' series in which he consciously reinvoked images from his earlier paintings. 'What I see instantly arouses a memory of something I once saw, and it has turned into pictures, and meanwhile I see the pictures more and more sharply as models for pictures' he explained. 'A child has no biography, has gathered nothing, but his imagination already spread inside him before he was born, and when he draws he tries to harmonise his imagination with whatever he sees and experiences. But sooner or later you're no longer a child, then you've done enough comparing and measuring and drawing: and at that point, when every stroke, dot or splotch is no longer used to compare with a thing, to approach it, then that's enough. Now you only need to talk to yourself and you've got a lot to say - and so much for that.' (G. Baselitz 'Painting Out of my Head, Upside Down, Out of a Hat' November, 1993 quoted in Georg Baselitz, exh. cat., Bologna 1997. p. 45)

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