• Georg Baselitz, Waldarbeiter (Woodsmen), 1967–68, charcoal and synthetic resin on canvas, 97 7⁄8 × 78 3⁄4".

    Georg Baselitz

    Hirshhorn Museum and Sculpture Garden

    GEORG BASELITZ came to the attention of US audiences in the early 1980s as part of the cohort of German painters who seemed to appear from out of nowhere with an onslaught of exhibitions in New York’s most prestigious and cutting-edge galleries. Within the international (non) movement referred to as “neo-expressionism,” Baselitz was among the few who were actually reconsidering German Expressionist approaches to painting; he was also “the one who turns his paintings upside down.” His inversion of his subjects set him apart, but without context or a clear sense of his development it seemed like

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