Το πιο αγαπημένο έργο του Γεόργκ Μπασέλιτς είναι το Supper in Dresden (1983), το οποίο εκτίθεται στο Kunsthaus Zürich, Ζυρίχη. Οι Der Ausgang - Karl (1987) και Female Nude on a Kitchen Chair (1979) ακολουθούν ανάμεσα στα έργα που γνωρίζουν καλύτερα οι αναγνώστες. Ο κατάλογός μας περιλαμβάνει 24 έργα του Γεόργκ Μπασέλιτς: ακολουθούν τα 24 πιο διάσημα, το καθένα με την χρονολογία του, το μουσείο του και το τι το κάνει αξιοσημείωτο.
Καταταγίζονται με βάση το σκορ δημοφιλίας μας, το οποίο συνδυάζει τις αναζητήσεις, τις επισκέψεις και τις παραγγελίες για κάθε έργο. Ενημερώθηκε Οκτώβριος 2026.
In the vast, commanding expanse of Supper in Dresden, viewers are invited into a world where reality is turned on its head—quite literally. This monumental oil on canvas, stretching over four meters in length, serves as a profound testament to the genius of Georg Baselitz, one of the most provocative voices of the Neo-Expressionist movement. At first glance, the painting presents a chaotic, almost feverish gathering around a long dining…
A man stands within the frame, his form caught in a moment of heavy gesture. He wears a black suit and a tie, yet his shape is distorted, pulled by an unseen tension. His arms reach upward, breaking the stillness of the composition. The canvas holds him in a clash of primary tones, where deep blues meet a sharp, bright yellow. A checkered pattern cuts through the scene, adding a…
Georg Baselitz's "Female Nude on a Kitchen Chair," created in 1979, isn’t merely a depiction of a woman; it’s a raw, unsettling excavation of the human condition. Emerging from the aftermath of World War II and deeply rooted in the fractured landscape of post-war Germany, Baselitz's work consistently grapples with themes of destruction, memory, and the inherent instability of representation. This particular piece embodies these concerns with an arresting intensity,…
Painted from a snapshot turned upside down, this portrait of the gallerist Franz Dahlem, part of a group of portraits of the artist’s friends and intimates, has a…
Τα τέσσερα θέματα που εμφανίζονται πιο συχνά σε αυτές τις καμβάδες, το καθένα με το αγαπημένο του παράδειγμα.
Τα 8 μουσεία που φιλοξενούν το μεγαλύτερο μέρος των έργων σε αυτήν τη σελίδα.
| Μουσεία | Πόλη | Έργα του Γεόργκ Μπασέλιτς | Πάτρια από αυτή τη λίστα |
|---|---|---|---|
 Bavarian State Painting Collections |
Μόναχο | 4 | Three Field Workers, Sea Swallow, Picture Sixteen |
 Statens Museum For Kunst |
Κόπενημαγκς | 4 | Untitled, Landscape with Shoe, Female Landscape |
 Städel Museum |
Φρανκφούρτη | 3 | Oberon (1. Orthodoxer Salon 64 - E. Neijsvestnij), Acker, Eagle |
 Albertina Klosterneuburg |
Klosterneuburg | 2 | Der Ausgang - Karl, Vorwärts Wind (Remix) |
 Kunsthaus Zürich |
Ζυρίχη | 1 | Supper in Dresden |
 Tate Britain |
Λονδίνο | 1 | Female Nude on a Kitchen Chair |
 Museum Ludwig |
Κόλονια | 1 | Model for a Sculpture |
 Staatliche Kunsthalle Karlsruhe |
Καρλσρούε | 1 | Fixed Idea |
Georg Baselitz's "Female Nude on a Kitchen Chair," created in 1979, isn’t merely a depiction of a woman; it’s a raw, unsettling excavation of the human condition. Emerging…
In the vast, commanding expanse of Supper in Dresden, viewers are invited into a world where reality is turned on its head—quite literally. This monumental oil on canvas,…
Supper in Dresden (1983), Kunsthaus Zürich, Ζυρίχη. Ακολουθούν το Der Ausgang - Karl (1987) και το Female Nude on a Kitchen Chair (1979).
Ο/Η Γεόργκ Μπασέλιτς, γεννημένος/η το 1938, ήταν 45 ετών: το έργο Supper in Dresden χρονολογείται από το 1983.
Supper in Dresden, Der Ausgang - Karl, Female Nude on a Kitchen Chair, Oberon (1. Orthodoxer Salon 64 - E. Neijsvestnij), Three Field Workers, Sea Swallow, Model for a Sculpture, Untitled, Der jäger και Fixed Idea. Κάθε καμβάς στον παραπάνω κατάραχο συνοδεύεται από το έτος και το μουσείο του.
Στον κατάλογό μας υπάρχουν 24 έργα του Γεόργκ Μπασέλιτς, με ημερομηνίες από 1962 έως 2015.
Κυρίως στα Bavarian State Painting Collections (Μόναχο), Statens Museum For Kunst (Κόπενημαγκς) και Städel Museum (Φρανκφούρτη); η παραπάνω λίστα αναφέρει κάθε μουσείο και τα έργα του.
Στην 1980s, η οποία περιλαμβάνει 8 από τα 24 έργα σε αυτήν τη σελίδα, με Supper in Dresden ανάμεσα σε αυτά.
Το παλαιότερο καμβάς εδώ είναι του Acker (1962), ενώ ο νεότερος είναι του Di nuovo arrivato (2015).
Oil On Canvas, που χρησιμοποιείται σε 2 από τα 24 έργα σε αυτήν τη σελίδα.
Neo-expressionism, όπως τα καμβάδες σε αυτήν τη σελίδα δείχνουν.
Το Bavarian State Painting Collections, Μόναχο διαθέτει 4 από τα έργα σε αυτήν τη σελίδα, μεταξύ των οποίων τα Three Field Workers, Sea Swallow και Picture Sixteen.
Born Hans-Georg Bruno Kern on January 23, 1938, in the small German village of Deutschbaselitz, the artist who would become known to the world as Georg Baselitz was a child of profound transition and upheaval. Growing up in the Upper Lusatia region amidst the literal and metaphorical rubble of World War II, his early consciousness was inextricably linked to themes of destruction, displacement, and the fractured order of a shattered society. This formative environment—marked by the loss of community and the lingering trauma of occupation—became the bedrock of his artistic vision. The devastation he witnessed did not merely provide subject matter; it instilled in him an urgent, lifelong need to question established conventions and to explore the very nature of perception through the lens of a world that had been turned upside down.
His early artistic inclinations were nurtured by a deep intellectual curiosity and significant cultural encounters. The influence of his father, an elementary school teacher, fostered a disciplined approach to observation, while the profound writings of Jakob Böhme provided a spiritual and philosophical complexity to his worldview. A pivotal moment in his development occurred when he encountered Louis-Ferdinand von Rayski’s Wermsdorfer Wald at a local school assembly. This masterpiece of realism ignited a fascination with capturing visual truth, leading him to produce portraits, religious subjects, and landscapes that, even in his youth, hinted at a more futuristic and unsettling vision.
As the art world moved toward the sterile intellectualism of Minimalism and Conceptual Art in the 1960s, Baselitz staged a visceral rebellion. He became a leading voice of Neo-Expressionism, a movement that sought to reclaim the raw power and emotional intensity of figurative painting. However, his contribution was far from a simple return to tradition. In 1969, Baselitz introduced one of the most radical innovations in modern art: the technique of painting his subjects upside down. This deliberate inversion was not a mere gimmick; it was a profound attempt to strip the subject of its representational, content-driven character. By turning the figure on its head, he forced the viewer to confront the artifice of the painting itself—to look past the "what" of the image and focus instead on the texture, color, and the physical reality of the paint on canvas.
This period saw the emergence of works that challenged the very boundaries of the medium. His compositions often oscillated between recognizable figuration and a chaotic, feverish energy. In monumental pieces like Supper in Dresden, he reimagined historical narratives through a lens of disarray and chromatic collision, using striking shades of pink, blue, and black to create a sense of restless, uncontainable energy. His work during this era functioned as an excavation of the human condition, utilizing distortion to express vulnerability and the inherent instability of memory and identity.
Throughout his prolific career, Baselitz’s artistic language has been a complex tapestry woven from myriad influences, ranging from the starkness of Socialist Realism and the dramatic tension of Mannerism to the primal rhythms of African sculpture. This eclectic synthesis allowed him to create a body of work that feels both deeply rooted in German history and universally resonant in its exploration of existential struggle. Whether through his commanding oil paintings, his evocative sculptures, or his intricate graphic works, Baselitz has remained steadfast in his commitment to a style characterized by unsettling honesty.
The historical significance of Georg Baselitz lies in his ability to transform the trauma of the past into a revolutionary aesthetic for the future. He did not merely document destruction; he used it as a tool to rebuild the language of painting. His achievements include:
Today, Baselitz stands as one of the most influential figures of the twentieth century, a painter whose work remains a powerful testament to the resilience of creativity in the face of chaos.
