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eBay Free eBay listing template designed by dewiso.com Anselm Kiefer 2008 Art Exhibition Catalogue Grosshaus Collection Gottorf Castle Objects, paintings and works on paper from the Großhaus collection. Published by the Schleswig-Holstein State Museums Foundation Issued to coincide with the exhibition “Anselm Kiefer” at Gottorf Castle in 2008-2009. Paperback, 218 pages, hundreds of images and illustrations. Tight and square binding. Clean pages with no readily visible underlining or writing. Minor curling to the book. In German. I combine shipping. I have been selling books, coins, sports cards and other collectibles for more than 20 years. All items securely packed. Please note: If ordering internationally please request a more accurate weight for your package. Contact me any time… We can be contacted at any time through eBay messages if you have any questions, comments or product requests. We will respond to you within 24 hours and do our best to help you out! We encourage our customers to contact us with any questions or concerns! We’d like to be sure you are completely satisfied with your purchase. Some more details… Anselm Kiefer (born 8 March 1945) is a German painter and sculptor. He studied with Peter Dreher and Horst Antes at the end of the 1960s. His works incorporate materials such as straw, ash, clay, lead, and shellac. The poems of Paul Celan have played a role in developing Kiefer’s themes of German history and the horrors of the Holocaust, as have the spiritual concepts of Kabbalah. In his entire body of work, Kiefer argues with the past and addresses taboo and controversial issues from recent history. Themes from Nazi rule are particularly reflected in his work; for instance, the painting Margarethe (oil and straw on canvas) was inspired by Celan’s well-known poem “Todesfuge” (“Death Fugue”). Works include: • The Second Sinful Fall of Parmenides (Der zweite Sündenfall des Parmenides), 1969. Oil on canvas, 82 5/8 x 98 3/8″ (210×250 cm), Private Collection. • You’re a Painter (Du bist Maler), 1969. Bound book, 9 7/8 × 7 1/2 x 3/8″ (25 x 19 x 1 cm), Private Collection. • Plate I, German Line of Spiritual Salvation, 1975, Deutsche Heilsline, Watercolor on paper, 9 7/16 x 13 3/8″ (24 X 34 cm), Private Collection. • Pages from “Occupations” (“Besetzungen”), 1969. From Interfunktionen (Cologne), no. 12 (1975). • Plate 2, Every Human Being Stands beneath His Own Dome of Heaven (Jeder Mensch steht unter seinem Himmelskugel), 1970, Watercolor and pencil on paper, 15 3/4 x 18 7/8″, (40 x 48 cm), Private Collection. • Double-page photographic image with foldout from The Flooding of Heidelberg (Die Überschwemmung Heidelbergs), 1969, 11 7/8 × 8 1/2 x 7/8″ (30.2 x 21.7 x 2.3 cm) (bound volume), Private Collection. • Double-page photographic images from The Flooding of Heidelberg (Die Überschwemmung Heidelbergs), 1969. • Untitled (Ohne Titel), 1971, Oil on canvas (in two parts), each 86 5/8 x 39 3/8″ (220 x 100 cm), Collection of Dr. Gunther Gercken, Lutjensee, West Germany. • Plate 3, Winter Landscape (Winterlandschaft), 1970, Watercolor on paper, 16 15/16 x 14 3/16″ (43 x 36 cm), Private Collection. • Plate 4, Reclining Man with Branch (Liegender Mann mit Zweig), 1971, Watercolor on paper, 9 7/16 x 11″ (24 x 28 cm), Private Collection. • Plate 5, Fulia, 1971, Watercolor and pencil on paper, 18 11/16 x 14 3/16″ (47.5 x 36 cm), Private Collection. • Quaternity (Quaternität), 1973, Charcoal and oil on burlap, 118 1/8 x 171 1/4″ (300 x 435 cm), Collection of George Baselitz, Derneburg, West Germany. • Father, Son, Holy Ghost (Vater, Sohn, heiliger Geist), 1973, Oil on burlap, 65 x 61 1/2″ (165 x 156 cm), Collection of Dr. Gunther Gerken, Lutjensee, West Germany. • Faith, Hope, Love (Glaube, Hoffnung, Liebe), 1973, Charcoal on burlap, with cardboard, 117 3/8 x 110 5/8″ (298 x 281 cm). Staatsgalerie Stuttgart. • Plate 6, Man in the Forest (Mann im Wald), 1971, Oil on muslin, 68 1/2 x 74 7/16″ (174 x 189 cm), Private Collection. • Plate 7, Resurrexit, 1973, oil, acrylic and charcoal on burlap, 114 3/16 x 70 7/8″ (290 x 180 cm). Collection Sanders, Amsterdam. • Plate 8, Nothung (Notung), 1973, oil and charcoal on burlap, with oil and charcoal on cardboard, 118 1/8 x 170″ (300 x 432 cm). Museum Boymans-van Beuningen, Rotterdam. • Plate 10, Germany’s Spiritual Heroes (Deutschlands Geisteshelden), 1973, oil and charcoal on burlap, mounted on canvas, 120 7/8 x 268 1/2″ (307 x 682 cm). Collection of Barbara and Eugene Schwartz, New York. • Double-page from Heroic Allegories (Heroische Sinnbilder), 1969, photography on cardboard, with pastel and pencil, 26 x 19 5/8 x 4″ ( 66 x 50 x 10 cm), Private Collection. • Operation Winter Storm (Unternehmen “Wintergewitter”), 1975, oil on burlap, 47 1/4 x 59″ (120 x 150 cm), Private Collection. • The Lake of Gennesaret (See Genezareth), 1974, oil emulsion, and shellac on burlap, 41 1/4 x 67″ (105 x 170 cm), Private Collection. • Plate 11, Landscape with Head (Landschaft mit Kopf), 1973, oil, distemper, and charcoal on cardboard, 82 11/16 x 94 1/2″ (210 x 240 cm), Private Collection. • Plate 12, Cockchafer Fly (Maikäfer flieg), 1974, oil on burlap, 86 5/8 x 118 1/8″ (220 x 300 cm), Saatchi Collection, London. • Plate 13, March Heath (Märkische Heide), oil, acrylic and shellac on burlap, 46 1/2 x 100″ (118 x 254 cm), Van Abbemuseum, Eindhoven, The Netherlands. • There is Peace upon Every Mountain Peak (Über allen Gipfeln ist Ruh!), 1973, watercolor on paper, 12 3/8 x 18 7/8″ (31.5 x 48 cm), Private Collection. • Plate 14, Operation Sea Lion I (Unternehmen “Seelöwe”), 1975, oil on canvas, 86 5/8 x 118 1/8″ (220 x 300 cm), Collection of Norman and Irma Braman, Miami Beach. • Plate 15, Piet Mondrian- Operation Sea Lion (Piet Mondrian- Unternehmen “Seelöwe”), 1975, thirty-four double-page photographic images, mounted on cardboard and bound, 22 7/16 x 16 1/2 x 2″ (57 x 42 5 cm) (bound volume), Collection of Marian Goodman, New York. • Plate 16, March Sand V (Märkischer Sand V), 1977, twenty-five double page photographic images, with sand, oil, and glue, mounted on cardboard and bound, 24 3/8 x 16 5/8 × 3 3/8″ (62 x 42 x 8.5 cm) (bound volume), Collection of Mr. and Mrs. Andrew Saul, New York. • Double-page photographic images from Hoffmann von Fallersleben auf Helgoland, 1978 (Groningen, 1980), 11 7/8 × 8 1/2 x 1/2″ (30.2 x 21.6 x 1.3 cm) (bound volume), Private Collection. • Plate 17, Varus, 1976, oil and acrylic on burlap, 78 3/4 x 106 5/16″ (200 x 270 cm), Van Abbemuseum, Eindhoven, The Netherlands. • Double-page from Germany’s Facial Type (Charcoal for 2000 Years) (Das deutsche Volksgesicht [Kohle fur 2000 Jahre]), 1974, charcoal on paper, with woodcut, 22 7/16 x 17 3/4 × 2 3/8″ (57 x 45 x 6 cm) (bound volume), Private Collection. • Heliogabalus (Heliogabal), 1974, watercolor on paper, 11 3/4 x 15 3/4″ (30 x 40 cm), Collection of Fredrik Roos, Switzerland. • Plate 18, Ways of Worldly Wisdom (Wege der Weltweisheit), 1976–77, oil, acrylic, and shellac on burlap, mounted on canvas, 120 x 196 7/8″ (305 x 500 cm), Collection Sanders, Amsterdam. • Plate 19, Ways of Worldly Wisdom- Arminius’s Battle (Wege der Weltweisheit-die Hermanns-Schlacht), 1978–80, woodcut, with acrylic and shellac, mounted on canvas, 126 x 196 7/8″ (320 x 500 cm), The Art Institute of Chicago. • Plate 20, Stefan!, 1975, watercolor and ball point pen on paper, 8 1/16 x 11 1/4″ (20.5 x 28.5 cm), Collection of Johannes Gachenang, Bern. • Siegfried Forgets Brunhilde (Siegfried vergisst Brunhilde), 1975, oil on canvas, 51 1/8 x 67″ (130 x 170 cm), Family H. de Groot Collection, Groningen, The Netherlands. In 1969, Kiefer had his first solo exhibition, at Galerie am Kaiserplatz in Karlsruhe. Along with Georg Baselitz, he represented Germany at the Venice Biennale in 1980. He was also featured in the 1997 Venice Biennale with a one-man show held at the Museo Correr, concentrating on paintings and books. Comprehensive solo exhibitions of Kiefer’s work have been organized by the Kunsthalle Düsseldorf (1984); Art Institute of Chicago (1987); Sezon Museum of Art in Tokyo (1993); Neue Nationalgalerie in Berlin (1991); Metropolitan Museum of Art in New York (1998); Fondation Beyeler in Basel (2001); the Modern Art Museum of Fort Worth (2005); the Hirshhorn Museum and Sculpture Garden in Washington D.C. (2006); the San Francisco Museum of Modern Art and the Guggenheim Museum Bilbao (2007). In 2007, the Guggenheim Museum Bilbao presented an extensive survey of recent work. Several of his works were exhibited in 2009 for the first time in the Balearic Islands, in the museum Es Baluard in Palma de Mallorca. In 2012, the Art Gallery of Hamilton presented some of his paintings. London’s Royal Academy of Arts mounted the first British retrospective of the artist’s work in September 2014. In 2007 Kiefer was commissioned to create a huge site-specific installation of sculptures and paintings for the inaugural “Monumenta” at the Grand Palais, Paris. With the unveiling of a triptych – the mural Athanor and the two sculptures Danae and Hortus Conclusus – at the Louvre in 2007, Kiefer became the first living artist to create a permanent site-specific installation in the museum since Georges Braque in 1953. In 2008, Kiefer installed Palmsonntag (Palm Sunday) (2006), a monumental palm tree and 36 steel-and-glass reliquary tablets in the auditorium-gym of the First Baptist Church of Los Angeles, an enormous Spanish Gothic edifice built in 1927. The room was reconfigured to accommodate the work. Floors were sanded to remove the basketball court’s markings, and the wall for the reliquary paintings was constructed inside the space. In 2010 the piece was installed at the Art Gallery of Ontario museum in Toronto, where Kiefer created eight new panels specifically for the AGO’s exhibition of this work. In Next Year in Jerusalem (2010) at Gagosian Gallery, Kiefer explained that each of the works was a reaction to a personal “shock” initiated by something he had recently heard of. In September 2013, The Hall Art Foundation, in partnership with the Massachusetts Museum of Contemporary Art, opened a long-term installation of sculpture and paintings in a specifically repurposed, 10,000 square-foot building on the MASS MoCA campus. In 2014, the Foundation landscaped the area surrounding this building in order to present long-term installations of outdoor sculpture. The long-term exhibition—includes Étroits sont les Vaisseaux (Narrow are the Vessels) (2002), an 82-foot long, undulating wave-like sculpture made of cast concrete, exposed rebar, and lead; The Women of the Revolution (Les Femmes de la Revolution) (1992), composed of more than twenty lead beds with photographs and wall text; Velimir Chlebnikov (2004), a steel pavilion containing 30 paintings dealing with nautical warfare and inspired by the quixotic theories of the Russian mathematical experimentalist Velimir Chlebnikov; and a new, large-format photograph on lead created by the artist for the installation at MASS MoCA. In 2015, the Centre Pompidou, the Bibliothèque Nationale in Paris, and the Museum der bildenden Künste in Leipzig hosted a retrospective exhibition in honor of Kiefer’s 70th birthday. In 2016 the Albertina in Vienna dedicated an exhibition to his woodcuts, showing 35 made between 1977 and 2015, with an accompanying catalogue. He unveiled his first public art commission in the United States in May 2018, at Rockefeller Center. The Uraeus sculpture was inspired in part by the religious symbols of Egypt and Thus Spoke Zarathustra. It was put on view until 22 July. Free eBay listing template designed by © dewiso.com.

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