2009-10-14

Deutschland - Dresden - Georg Baselitz. Woman of Dresden

Photo DPA

An exhibition by the Galerie Neue Meister and the Gemäldegalerie Alte Meister


Gemäldegalerie Alte Meister, Semperbau at the Zwinger


10 October 2009 until 28 February 2010


To mark the 20th anniversary of the fall of the Berlin Wall, the Galerie Neue Meister and the Gemäldegalerie Alte Meister are to hold a special exhibition entitled “Georg Baselitz. Dresdner Frauen”. This unique show will feature major works by Georg Baselitz in which there is a direct connection between the exhibition venue and the artist’s creative process. The exhibition – the conceptual design for which has been drawn up by Baselitz and his wife – will concentrate on works emanating from the artist’s reflections on Dresden and its history. The particular strength of this selection of works is that – unlike exhibitions that are intended to provide an overview of the artist’s oeuvre – they focus on a specific theme in an unprecedented way.
In a central location within the Semper Building, in the Gobelinsaal (Tapestry Hall), two large groups of works by Georg Baselitz will be presented which are undoubtedly among the most significant artistic compositions dealing with the radical caesura of 1989. One of them is the monumental work “45” from the Kunsthaus Zurich. A few weeks before the fall of the Wall, in September 1989, the artist completed this set of 20 large-format plywood panels. This major work concerning German history refers to an event that is deeply etched not only into the memory of the artist: the destruction of Dresden and the apocalyptic end of the Second World War in an apo-theosis by fire. The dominant motif in “45” – a woman who, mostly against a dark background, distractedly looks out onto the world as if through a window – has its counterpart in the 1990 work “Dresdner Frauen” (Women of Dresden), a group of monumental yellow-painted rough-hewn wooden sculptures on high plinths.
Attached to this core section of the exhibition will be paintings and drawings in the adjacent gallery rooms, such as “Nachtessen in Dresden” (Supper in Dresden) and “The Bridge Ghost‘s Supper”. These reflect both Baselitz’s use of traditional Christian imagery and his artistic influences, which include Edvard Munch and the artists’ group Die BRÜCKE. In this way, Dresden, the artist’s birthplace of Deutschbaselitz and hence his Saxon origins will quite naturally come to the fore.

Website : Staatliche Kunstsammlungen Dresden