New York

Georg Baselitz

Pace Wildenstein

Georg Baselitz’s painting has acquired a new, drawing-based style in which the physicality of the painted line is emphasized by simply squeezing the paint from the tube and leaving it in unbrushed, toothpastelike squiggles. Hoch Habsburg (High Habsburg, 1992) shows a dark, near-black ground—a loose allover array activated by mostly white, curvilinear lines. Gundel, 1992, redeploys the familiar Baselitz motif of a crudely gridded, very loosely painted ground with only the suggestion of a human head. The figure, which began so firmly in Baselitz’s work, was then subjected to various subversive loosenings and disorientations. Here, it becomes almost transparent and incoherent as it lies on the black ground, as if fading into a primal abyss. In Franziska, 1992, hints of a seated figure, and in Bildfiinfzehn (Painting fifteen, 1992–93), of a recumbent one, emerge from the almost consuming

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