Curators: Kinga Bódi, Alexander Tolnay

Photos: Ferenc Eln

Ornamental (Remix), 2005, oil on canvas; The Albertina Museum, Vienna

“AVANT-GARDE IS ALWAYS A FASHIONABLE TERM THAT DEFINES THE TREND OF THE TIME AS PROGRESSIVE. NOWADAYS I BELIEVE THAT IT IS OFTEN BETTER TO LOOK BACK IN TIME, AND I HAVE DONE SO QUITE OFTEN LATELY.”

GEORG BASELITZ, 2016

Sing Sang Zero, 2011, patinated bronze; Private collection, Germany

Schigago (Remix), 2007, oil on canvas; The Albertina Museum, Vienna, The Essl Collection | Forward Wind (Remix), 2007, oil on canvas; The Albertina Museum, Vienna, The Essl Collection | The Shepherd (Remix), 2007, oil on canvas; Privately owned

Painter in a Coat (Remix), 2006, (detail), drypoint and aquatint in black over yellow plate on vellum; Galerie Sabine Knust, Munich, Sabine Knust Stiftung, Dresden

The New Type (Remix), 2005, (detail), oil on canvas; The Albertina Museum, Vienna

Partisan (Remix), 2005, (detail), oil on canvas; The Albertina Museum, Vienna, The Essl Collection

First, Here We Are, 2014, oil on canvas; The Albertina Museum, Vienna. The Batliner Collection

“I WAS BORN INTO A DESTROYED ORDER, A DESTROYED LANDSCAPE, A DESTROYED PEOPLE, A DESTROYED SOCIETY. AND I DIDN’T WANT TO RE-ESTABLISH AN ORDER: I’D SEEN ENOUGH OF SO-CALLED ORDER. I WAS FORCED TO QUESTION EVERYTHING, TO BE ‘NAÏVE’, TO START AGAIN.”

GEORG BASELITZ, 1995

Bandit (Remix), 2007, oil on canvas; Privately owned

A Green One Torn, 1967, oil on canvas; Staatsgalerie, Stuttgart

Grapevine, 1969, synthetic resin on canvas; The Albertina Museum, Vienna. The Essl Collection | Wagner Paints a Rider in the Snow, 2002, oil on canvas; Privately owned | A Peculiar Shape, 2002, oil on canvas; The Albertina Museum, Vienna. The Essl Collection

The Wood on Its Head (Remix), 2006, (detail), oil on canvas; The Albertina Museum, Vienna

Eagle 1953 (Remix), 2006, oil on canvas; The Albertina Museum, Vienna

“ALL THAT WHICH LIES BEHIND THE PAINTER ALSO LIES BEFORE HIM.”

GEORG BASELITZ, 1987

Snow Time, 2005, oil on canvas; The Albertina Museum, Vienna. The Essl Collection

Present Karl May, 2006, linocut in black on hand-coloured drawing cardboard; The Albertina Museum, Vienna | The Appearance, 2005, linocut in black on drawing cardboard; The Albertina Museum, Vienna

“IT IS THE MOTIFS THAT ARE REVERSED, NOT THE PICTURE. AFTER REVERSAL, EVERYTHING BECOMES POSSIBLE. THE CHOICE OF OBJECTS POSES NO PROBLEM. THE OBJECT IS A PICTORIAL OBJECT AND I USE IT WITHOUT QUESTION. I USE THE PORTRAIT UNQUESTIONINGLY AS A PICTURE OBJECT, JUST AS I USE THE LANDSCAPE OR THE STILL LIFE.”

GEORG BASELITZ, 1987

The Path, 2006, linocut in black on hand-coloured drawing cardboard; The Albertina Museum, Vienna | Aurora, 2005, linocut in black on hand-coloured drawing cardboard; The Albertina Museum, Vienna

“THE PROBLEM IS NOT THE OBJECT IN THE PICTURE, BUT THE PICTURE AS AN OBJECT.”

GEORG BASELITZ, 1987–1988

The Question Missus, 2010, oil on canvas; Privately owned

Roman Salute, 2004, patinated bronze and oil paint; Privately owned

6 Panels – Female Nude 1–6, 1976–1977, oil and tempera on plywood; Österreichische Ludwig Stiftung für Kunst und Wissenschaft, on permanent loan to the Museum Moderner Kunst Stiftung Ludwig, Vienna

The Mocking, 1983, (detail), oil on canvas; Peter und Irene Ludwig Stiftung, Aachen, on permanent loan to the Ludwig Museum – Museum of Contemporary Art, Budapest

Hage, 1993, oil on canvas; The Albertina Museum, Vienna, The Batliner Collection | Ede, 1993, oil on canvas; The Albertina Museum, Vienna, The Batliner Collection | Lena, 1992, oil on canvas; The Albertina Museum, Vienna, The Batliner Collection

G-Head, 1987, oil on beechwood; Ludwig Museum – Museum of Contemporary Art, Budapest

Head no. 6, 1982, linocut in English red on canvas paper; The Albertina Museum, Vienna

Women of Dresden – Next to them the Elster, 1989, oil on beechwood; Sammlung Würth, Künzelsau

A Painted General, 2001, oil on canvas; Galerie Thaddaeus Ropac, London–Paris–Salzburg

Delegates Visiting Lenin (Serow), 1998, oil on canvas; Galerie Thaddaeus Ropac, London–Paris–Salzburg

“TO THIS DAY I STILL CITE PEOPLE, LANDSCAPES AND SITUATIONS IN THE EAST [GERMAN DEMOCRATIC REPUBLIC]. THEY ARE STILL MY VOCABULARY.”

GEORG BASELITZ, 1987

Tomato Picking (Zinaida Kovalevskaya), 1999, oil on canvas; The Albertina Museum, Vienna. The Batliner Collection

Photo 1974 – (East German Bride), 2010, oil on canvas; The Albertina Museum, Vienna. Essl Collection

“WE WORK FULLY AGAINST THE TIMES. WHAT WE DO HAS NOTHING TO DO WITH THE FUTURE. […] IT IS RATHER LIKE A NEW BEGINNING, OR A RETROSPECTION.”

GEORG BASELITZ, 2016

Black-and-White Negative, 2004, oil on canvas; Privately owned

E. L. K., 2013, oil on canvas; Privately owned

Without Pants in Avignon, 1, 2, 3, 4, 6, 7, 2014, aquatint and line etching in black over yellow plate on vellum; Galerie Sabine Knust, Munich, Sabine Knust Stiftung, Dresden | Without Pants in Avignon, 5, 2014, aquatint and line etching in tinted black on vellum; Galerie Sabine Knust, Munich, Sabine Knust Stiftung, Dresden

Nightingale First Time, 2008, oil on canvas; Privately owned

It’s not May Yet, 2011, oil on canvas; Privately owned

Zero Mobile, 2014, patinated copper, ed. 2 of 3; Courtesy Galerie Thaddaeus Ropac, London–Paris–Salzburg

Graphic design by Zsuzsanna Brotesser