| Georg Baseliz |
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| GEORG BASELITZ | |
| Biography | |
| 1938 | born January 23, as Hans-Georg Kern in Deutschbaselitz, Saxony |
| 1950 | the family moves to Kamenz where Baselitz completes his primary school education and attend secondary school until 1955 |
| 1956 | Studies painting at the Hochschule für bildende und angewandte Kunst in East-Berlin under Professor Womaka and Behrens-Hangler. He is expelled from the college after two terms for "social and political immaturity" |
| 1957 | Continues studies at the Hochschule der bildenden Künste in West-Berlin under Professor Hann Trier |
| 1958 | Moves to West-Berlin |
| 1959 | Hitches to Amsterdam, visits documenta 2 in Kassel on his return journey |
| 1960 | first trip to Paris |
| 1961 | adopts the name Georg Baselitz; „1. Pandämonium", exhibition and manifesto together with Eugen Schönebeck in Berlin |
| 1962 | „2. Pandämonium", manifesto with Eugen Schönebeck; Completes studies |
| 1963 | exhibition at the Werner &, Katz Gallery, Berlin from which two paintings „Die große Nacht im Eimer" and „Der nackte Mann" are confiscated by the public prosecutor; The consequent court case lasting until 1965 results in the return of the paintings to the artist. Writes as a manifesto the letter „Lieber Herr W.!" |
| 1965 | Spends six month in the Villa Romana, Florence on a schoarship and studies the graphics of Mannerism |
| 1966 | exhibition and manifesto „Warum das Bild ,Die großen Freunde' ein gutes Bild ist" at the Galerie Rudolf Springer, Berlin |
| 1969 | paints the first picture in which the subject is upside-down: "Der Wald auf dem Kopf" |
| 1970 | first retrospective of the graphic works at the Kunstmuseum Basel |
| 1972 | documenta 5, Kassel ; Exhibits the 1969 group of portraits of friends at the Goetheinstitut/Provisorium, Amsterdam |
| 1974 | retrospective of the graphic works at the Städtisches Museum, Leverkusen |
| 1975 | moves to Derneburg near Hildesheim; First trip to New York; takes part at the Xlll. Sao Paulo Biennale |
| 1976 | exhibition at the Kunsthalle, Bern; Retrospective Staatsgalerie für moderne Kunst, Munich |
| 1977 | Appointment at the Staatlichen Akademie der Bildenden Künste in Karlsruhe where he receives a professorship in 1978; Withdraw his contribution to documenta 6 in Kassel due to participation by official representatives of GDR painters |
| 1979 | works on the 18-part Straßenbild; Lecture and manifesto „Vier Wände und Oberlicht oder besser kein Bild an der Wand", Dortmund; First sculptures; exhibition at the Stedelijk Van Abbemuseum, Eindhoven |
| 1980 | Venice Biennale; Whitechapel Art Gallery, London |
| 1981 | additional studio in Castiglion Fiorentino near Arezze; Participartes in the show „A New Spirit in Painting", Royal Academy of Art, London |
| 1982 | participates in documenta 7, Kassel; „Zeitgeist", Martin-Gropius-Bau, Berlin |
| 1983 | Moves his professorial chair from Karlsruhe to the Hochschule der Künste, Berlin; Retrospective of the sculptures at the Musée d'Art Contemporain, Bordeaux |
| 1984 | Retrospective of the drawings at the Kunstmuseum Basel |
| 1985 | Retrospective of the graphics and sculptures at the Bibliotheque Nationale, Paris; exhibitions at the Kunsthalle, Bielefeld; „Carnegie International'85", Pittsburgh |
| 1986 | Wins the Kaiserring prize from the city of Goslar |
| 1987 | Additional studio in Imperia on the Italian Riviera; Lecture and manifesto: „Das Rüstzeug der Maler"; Exhibition of the sculptures at the Kestner-Gesellschaft, Hannover; Retrospective at the Palazzo Vecchio, Florence, travels to the Kunsthalle Hamburg; Gives up professorship at the Hochschule der Künste in Berlin |
| 1989 | the French Arts Minister Jack Lang confers upon him the medal of „Chevalier de l'Ordre des Arts et des Lettres"; Participates at the exhibition „Bilderstreit - Widerspruch, Einheit und Fragment in der Kunst seit 1960", Museum Ludwig, Köln |
| 1990 | major retrospective at the Kunsthaus Zürich, then Kunsthalle Düsseldorf; Introduces physically his idea of folk-dance ("Volkstanz") in his work by using his feet for painting; Retrospective at the Sala de Exposiciones de la Fundacion Caja de Pensiones, Madrid |
| 1991 | „Malelade" is exhibited at the Museum of Modern Art , NewYork, Den Haag Gemeentemuseum and the Roeme & Pelizaeus Museum, Hildesheim; Participates at the „Metropolis" exhibition at the Martin-Gopius-Bau, Berlin; Print retrospective at the IVAM Centro Julio Gonzales, Valencia |
| 1992 | disassociates himself from the Akademie der Künste, Berlin; „Retrospektive1964-1991" at the Hypokulturstiftung Munich, travelling to Edinburgh and Vienna; He is asked once again to join the Hochschule der Künste in Berlin |
| 1993 | designs stage set for the opera „Punch and Judy" in Amsterdam; Exibition at Louisiana Museum, Humlebaek; Participates at the XLV. Biennale, Venice |
| 1994 | exhibition at the Saarland Museum, Saarbrücken and Kunsthalle, Hamburg |
| 1995 | Major retrospektive organised by the Guggenheim Museum, New York travels to the L.A. County Museum, Los Angeles, the Hirshhorn Museum, Washington; Staatsgalerie, Berlin. |
| 1995 | inaugural show of the new space at the Jamileh Weber Gallery, Zurich |
| 1996 | "Woodcuts" at the BAWAG foundation, Vienna; Musée d'Art Moderne de la Ville de Paris |
| 1997 | Dresdner Kunstverein, im Residenzschloss, Dresden; "L'Opera Grafica 1990-1997", Galleria Civica di Arte Contemporanea, Trento |
| 1998 | Museo Rufino Tamayo, Mexico City |
| 1999 | "Gravures Monumentales: 1977-1999", Musée Rath, Geneva |
| 2000 | Jamileh Weber Gallery, Zurich "Im Walde von Blainville/Malerei 1996-2000", Sammlung Essl, Klosterneuburg, Vienna |
| 2001 | "Escultura frente a pintura", IVAM - Centro Julio González, Valencia "Neue Bilder", Jamileh Weber Gallery, Zurich "Georg Baselitz: Der kubistische Hund", Kunstverein Braunschweig Georg Baselitz lives and works in Derneburg, Germany and Imperia, Italy. |