Blonden anderer Stelle

Just as Roy Lichtenstein made the comic strip, Andy Warhol the screen print and Yves Klein the blue the signature of their works, Georg Baselitz has been turning his works 180 degrees since 1969. The painter turns his motifs upside down. In this way, what is depicted recedes into the background and the painterly aspect - form and colour effect - becomes the focus of attention.
This is not the only reason why the oil painting ‘Blonden anderer Stelle’ from 1992 cannot be referenced. The work, which appears to be a continuation of Baselitz's earlier portrait paintings, barely hints at any figurative elements. Only the title of the almost three metre high and wide large format still refers to a motif. Yellow, green, blue and red-violet patches of colour are layered on top of each other in thick, coarse brushstrokes. Framed by a broad black line on which the imprints of the painter's shoes can be seen, they merge into a conglomerate of colour impressions. The structure of the work is reminiscent of ‘Das Malerbild’, which is in the collection of Staatsgalerie Stuttgart. It opens up a 450 cm wide panorama in which individual portraits and objects appear upside down, separated from each other by broad black coloured areas. There, the portraits of three blonde women are still recognisable; in ‘Blonden anderer Stelle’ they can only be imagined in the yellow colour fields. The content seems to have given way entirely to the impression.