Updated oktober 2026 · ranked by our popularity score (searches, visits and orders for each work) · 24 works by Georg Baselitz in our catalogue
Povzetek
According to this ranking, Supper in Dresden (1983) is the most famous painting by Georg Baselitz; the Kunsthaus Zürich, Žurih, holds it. It is followed by Der Ausgang - Karl (1987) and Female Nude on a Kitchen Chair (1979). This list draws on the 24 works by Georg Baselitz in the catalogue and records the 24 most famous, with date, holding museum and description for each entry.
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,…
Acker1962 · Städel Museum
12
Elke-Akt 21976 · Buffalo AKG Art Museum
13
Landscape with Shoe1976 · Statens Museum For Kunst
14
Eagle1982 · Städel Museum
15
Untitled1983 · Metropolitanski muzej umetnosti
16
Man of Faith1983
17
Female Landscape1985 · Statens Museum For Kunst
18
Picture Sixteen1993 · Bavarske državne slikopisne zbirke
19
Bedroom (Remix)2005 · Bavarske državne slikopisne zbirke
20
Crema2004 · Statens Museum For Kunst
21
Vorwärts Wind (Remix)2007 · Albertina Klosterneuburg
22
Di nuovo arrivato2015 · Musée d'Unterlinden
23
Da. Portrait (Franz Dahlem)1969
24
Der hirte
The four subjects most frequently represented among these works, each with its best-known example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Georg Baselitz | Paintings from this list |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 4 | Three Field Workers, Sea Swallow, Picture Sixteen |
 Statens Museum For Kunst |
Kopenhagen | 4 | Untitled, Landscape with Shoe, Female Landscape |
 Städel Museum |
Frankfurt | 3 | Oberon (1. Orthodoxer Salon 64 - E. Neijsvestnij), Acker, Eagle |
 Albertina Klosterneuburg |
Klosterneuburg | 2 | Der Ausgang - Karl, Vorwärts Wind (Remix) |
 Kunsthaus Zürich |
Žurih | 1 | Supper in Dresden |
 Tate Britain |
London | 1 | Female Nude on a Kitchen Chair |
 Muzej Ludwig |
Köln | 1 | Model for a Sculpture |
 Staatliche Kunsthalle Karlsruhe |
Karlsruhe | 1 | Fixed Idea |
Select a decade to display its principal painting.
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,…
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…
Supper in Dresden (1983), Kunsthaus Zürich, Žurih. The following entries are Der Ausgang - Karl (1987) and Female Nude on a Kitchen Chair (1979).
45 years: Georg Baselitz was born in 1938 and Supper in Dresden is dated 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 and Fixed Idea. The list above records the date and holding museum of each.
The catalogue records 24 works by Georg Baselitz, dated between 1962 and 2015.
Principally in Bavarske državne slikopisne zbirke (München), Statens Museum For Kunst (Kopenhagen) and Städel Museum (Frankfurt). The museum table above gives the full distribution.
In 1980s: 8 of the 24 works listed on this page are dated to that period, including Supper in Dresden.
The earliest dated work listed here is Acker (1962); the latest is Di nuovo arrivato (2015).
Oil On Canvas, in 2 of the 24 works listed on this page.
Neo-expressionism, as documented by the works on this page.
Three Field Workers, Sea Swallow and Picture Sixteen are among the 4 works on this page in the collection of the Bavarske državne slikopisne zbirke, München.
Rodjen 23. januarja 1938 v majbnem nemškem vasi Deutschbaselitz kot Hans-Georg Bruno Kern, je umetnik, ki se bo svetu znano kot Georg Baselitz, postal otrok globokih prehodov in prevratov. Razrast v regiji zgornje Lusije med literalnim in metaforičnim gruzom druge światovne vojne je njegovo zgodnje zavestno neposredno povezalo z temami uničenja, izselitve in razbijatega reda raztratenega družbena redov. To oblikovalno okolje—označenega z izgubo skupnosti in dolgotrajno travmo okupacije—je postalo temelj njegove umetne vizije. Razprazina, ki jo je menyaksikan, ni služila le kot tema; vplinila je na nanj nujno, življenjsko potrebo po cuestioniranju ustanovljenih konvencij in raziskovanju same narave percepcije skozi prizmo sveta, ki je bil obrnjen naravnost na glavo.
Njegove zgodnje umetne nagnitve so bile negovane z globoko intelektualno radovednostjo in pomembnimi kulturnimi srečanjami. Vpliv njegovega očeta, učitelja osnovne šole, je spodbudil discipliniran pristop k opazovanju, medtem ko so globoka zapisa Jakoba Böhme svojemu pogledu na svet dodala duhovno in filozofsko kompleksnost. Ključni trenutek v njegovem razvoju se je zgodil, ko je na lokalnem šolskem sestanku spoznal delo Louisa-Ferdinanda von Rayskija, Wermsdorfer Wald. To vrhunsko delo realizma je v njemu vžarilo fascinacijo nad zajemanjem vizualne resnice, kar ga je vodilo do ustvarjanja portretov, religioznih motivov in pejzažov, ki so že v njegovi mladosti nakazovali bolj futuristično in unsettled vizijo.
Ko se je umetniški svet v 1960-ih premikati v smeri sterilnega intelektualizma minimalizma in konceptualne umetnosti, je Baselitz pripravil vizceralno pobožnost. Postal je vodilni glas neoekspresionizma}, gibanja, ki je skušalo ponovno pridobiti råvno moč in emocionalno intenzivnost figurativne slikarstva. Vendar pa njegov prispevek ni bil preprosto vrnitev k tradiciji. Leta 1969 je Baselitz predstavil eno najbolj radikalnih novosti v moderni umetnosti: tehniko slikanja svojih motivov obrnjenih naravnost na glavo. Ta namerna obrnjenost ni bila le trik; bila je globoka poskusa, da se motivu luskajo njegova reprezentativna, vsebinsko vodena narava. S tem, ko je figure obrnil, je prisilil gledalca v soočenje z umetnostjos samo—da gleda mimo "česa" slike in se namesto tega osredotoči na teksturo, barvo in fizično realnost barve na platnu.
To obdobje je prineslo dela, ki so izzivala same meje medija. Njegove kompozicije so se pogosto premikale med prepoznavno figuroznostjo in kaotično, gorivo energijo. V monumentalnih delih, kot je Večerja v Dresdenu, je ponovno interpretiral zgodovinske narative skozi prizmo nereda in kromatične kolizije, pri čemer je uporabil osupljive odtenke roze, modre in črne, da bi ustvaril občutek nemirne, neobvladljive energije. Njegovo delovanje v tej dobi je delovalo kot kopanje po človeški kondiciji, kjer je z distorzijo izražal ranljivost in izvorno nestabilnost spomina in identitete.
skozi svojo plodno kariero je bila umetniška jezik Georg Baselitz zapleten tapiserija, tkana iz številnih vplivov, od starknosti socialističnega realizma in dramatične napetosti mannerizma do prvinskih ritmov afriške skulpture. Ta eklektična sinteza mu je omogočila ustvarjanje dela, ki je hkrati globoko zakorenjeno v nemški zgodovini in univerzalno resonantno v svojem raziskovanju eksistencialne borbe. Ne glede na to, ali skozi svoje močne oljne slike, evokativne skulpture ali zapletena grafična dela, je Baselitz ostal zvest svojemu slogu, ki ga zaznamava pretresena iskrenost.
Zgodovinski pomen Georg Baselitz leži v njegovi sposobnosti, da transformira travmo preteklosti v revolucionsko estetiko za prihodnost. Ni le dokumentiral uničenja; uporabil ga je kot orodje za ponovno gradnjo jezika slikarstva. Njegovi dosežki vključujejo:
Danes Baselitz stoji kot ena izmed najbolj vplivnih postaci dvavedesetega stoletja, slikar, katerega delo ostaja močno spomenstvo odpornosti ustvarjalnosti pred hobotnico kaosa.
