FROM GROSZ TO KIEFER, PATHS IN GERMAN ART PT.3

Anselm Kiefer (Donaueschingen, 1945), the youngest, from the very beginning in 1969 has the courage to face, with a tragic and gloomy vision, the history of Germany's recent past, that of the National Socialist period, a forbidden and removed territory for an artist German. However, as an avid reader of Rainer Maria Rilke, Friedrich Holderlin and Martin Heidegger, Kiefer has a deep faith in the power of poetry. In addition to painting, of course: in his paintings the palette is transformed into stone, branch, rainbow, border, fire and blood. In the dark magma of its landscapes, burnt wood or deformed leads, pieces of paper, glass, tar, dried flowers and straw clump together, sometimes drawings and photographic memories are inserted, written with names linked to national tradition.Georg Baselitz (Deutschebaselitz, 1938) is best known for his “upside down” paintings, made since 1969: heads, landscapes, trees, full or half-length figures, eagles, flower pots, girls on bicycles. An admittedly figurative repertoire, of which, however, the artist is interested in the exploration of matter and composition much more than the representation of the subject. An original way out of the two experiences that had marked his formation: the Socialist Realism imposed in East Berlin and the triumphant abstract and informal painting in the West.
Markus Lüpertz, born in Bohemia in 1941, is an even more multifaceted personality: in 1964 he opens the Grossgorschen 35 Gallery in Berlin with the exhibition of his "dithyrambic painting", later publishes posters and collections of poems and in 1977 refuses to participate in Document. Archaic and traditional themes, often linked to the museum and the history of art (from Poussin to Picasso), find expression in a cultured and syncretic painting, in a magical fusion of realistic ideas and snapshots of the imagination. Features that also connote the very rich plastic production of the Bohemian artist.

05.05.2021