ANSELM KIEFER (Donaueschingen 1945–lives and works in Paris) Des Malers Atelier. 1982. Gouache and offset on paper. Titled in the centre of the illustration: Des Malers Atelier, also signed and dated on the reverse: Anselm Kiefer 82. 59 × 78 cm. Provenance: - Marian Goodman Gallery, New York. - First Bank of Minneapolis. - Lang & OHara Gallery, New York (verso with the label). - Private collection Baltimore. - Christies New York, Auction 28 September 2017, lot 81 (verso with the label). - Lempertz Cologne, Auction 03 December 2021, lot 45 (verso with the label). - Private collection Northern Germany. Exhibition: Baltimore 1988, German Expressionist Graphics. The Baltimore Museum of Art, 9 August - 9 October 1988 (verso with the label). “These are abandoned buildings / places / spaces that he examines, occupies, marks, where he goes in search of traces in order to leave traces himself. Spaces that allow him to create his own cosmos. Places that he reflects and interprets through memories and traces." (quoted by Susanne Kleine in: Anselm Kiefer in the Beginning. Works from the Private Collection of Hans Grothe, exh.cat., Cologne 2012, p. 68) This striking description of Anselm Kiefers studios and their central importance in his oeuvre illustrates the great significance and inextricable link between the place where the works are created and the essence of the final work. These are magical spaces where Anselm Kiefers often bulky, sometimes literally leaden works are created: an abandoned brickyard in the Odenwald, a disused silk factory in the French Cévennes, empty warehouses filled with industrial waste and surrounded by lonely, overgrown nature. Anselm Kiefer is one of the best-known German contemporary artists. In his work, which is characterised by a heavy materiality, he deals with existential questions. Politics, religion, mysticism, myth, alchemy, and cosmology form the complex of themes from which Anselm Kiefer composes his pictorial and sculptural works. In the large, sparse studio spaces, the spirit of history seems omnipresent. At the same time, the direct influence of his studios on his works runs like a leitmotif through his oeuvre: frequently changing locations, constantly growing in their sheer size, themselves bearers of history, memories, traces of previous generations. The artist is not interested in reproducing real history, but in archiving its traces, what remains. When Anselm Kiefer refers directly to the theme of "the painters studio" in his work, he is referring to the essential value of this place. Just as there is always room in his paintings for personal development and associations, the size of the studio also facilitates the development of a world in which Kiefer sees himself as an "assistant of memory". In the work offered here, the roofs of some buildings (indicated by Kiefer in pencil as the painters studio) seem to stand out brightly from the dark swathes of sky and the gloomy undergrowth of the meadow, like an auspicious promise. At the same time, the hidden, the mythical remains. Like relics of a bygone era, the building fragments seem to reveal nothing, but only allow us to guess, as traces of a more comprehensive reality. ANSELM KIEFER (Donaueschingen 1945–lebt und arbeitet u.a. in Paris) Des Malers Atelier. 1982. Gouache und Offset auf Papier. Mittig in der Darstellung betitelt: Des Malers Atelier, sowie verso signiert und datiert: Anselm Kiefer 82. 59 × 78 cm. Provenienz: - Marian Goodman Gallery, New York. - First Bank of Minneapolis. - Lang & OHara Gallery, New York (verso mit dem Etikett). - Privatsammlung Baltimore. - Christies New York, Auktion 28.09.2017, Los 81 (verso mit dem Etikett). - Lempertz K?ln, Auktion 03.12.2021, Los 45 (verso mit dem Etikett). - Privatsammlung Norddeutschland. Ausstellung: Baltimore 1988, German Expressionist Graphics. The Baltimore Museum of Art, 9. August - 9. Oktober 1988 (verso mit dem Etikett). ?Es sind verlassene Bauwerke / Orte / R?ume,**er untersucht, besetzt, markiert, in denen er sich auf Spurensuche begibt, um selbst Spuren zu hinterlassen. R?ume,**ihm erlauben, einen eigenen Kosmos zu schaffen. Orte,**er durch Erinnerungen und Spuren reflektiert und interpretiert.“ (zit. Susanne Kleine in: Anselm Kiefer am Anfang. Werke aus dem Privatbesitz von Hans Grothe, Ausst. Kat., K?ln 2012, S. 68) Diese markante Beschreibung des Ateliers von Anselm Kiefer und ihrer zentralen Bedeutung für das Gesamtwerk verdeutlicht den hohen Stellenwert und**untrennbare Verbindung des Ortes, an dem**Werke entstehen, mit der Wesenheit des finalen Werkes. Es sind magische R?ume, an denen**oft sperrigen, buchst?blich auch bleischweren Werke von Anselm Kiefer entstehen: eine aufgelassene Ziegelei im Odenwald, eine stillgelegte Seidenfabrik in den franz?sischen Cevennen, leerstehende Lagerhallen, angefüllt mit Industrieabfall und umgeben von einsamer, verwilderter Natur. Anselm Kiefer z?hlt zu den bekanntesten deutschen Künstlern der Gegenwart. In seinem von schwerer Materialit?t gepr?gten Werk setzt er sich mit existentiellen Fragestellungen auseinander. Politik, Religion, Mystik, Mythos, Alchemie und Kosmologie bilden**Themenkomplexe, aus denen Anselm Kiefer seine bildnerischen und skulpturalen Werke zusammensetzt. In den grossen, kargen R?umen seines Ateliers scheint der Geist der Geschichte allgegenw?rtig zu sein. Gleichwohl zieht sich der direkte Einfluss seiner Ateliers auf seine Arbeiten wie ein roter Faden durch sein Werk: H?ufig wechselnde Orte, in ihrer schieren Gr?sse stets wachsend, selbst Tr?ger von Geschichte, Erinnerungen, Spuren vorangegangener Generationen. Nicht reale Historie wiederzugeben interessiert den Künstler, sondern deren Spuren, das was übrig geblieben ist, zu archivieren. Wenn Anselm Kiefer sich nun in seinem Werk direkt auf das Thema ?Des Malers Atelier“ bezieht, verweist er auf den essenziellen Wert dieses Ortes. So wie in seinen Bildern stets Raum für**eigene Entfaltung und Assoziation ist, so dient auch**Gr?sse des Ateliers der Entfaltung einer Welt, in der Kiefer sich als ?Assistent der Erinnerung“ versteht. In dem hier angebotenen Werk scheinen**D?cher einiger Geb?ude (von Kiefer als des Malers Atelier mit Bleistift bezeichnet) aus den dunklen Schwaden des Himmels und dem düsteren Gestrüpp der Wiese hell hervorzustechen wie ein verheissungsvolles Versprechen. Gleichzeitig bleibt das Verborgene, Mythische erhalten. Wie Relikte einer vergangenen Zeit scheinen**Geb?udefragmente nichts Preis zu geben, sondern lassen nur erahnen, sind Spuren einer umfassenderen Wirklichkeit. notes:*
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