Georg Baselitz's work in the early 1960s, particularly around 1961-1962, reflects a pivotal period in his career, marking the emergence of his distinctive style that challenges traditional norms of figuration and representation. Influenced by various sources, including Artistry of the Mentally Ill by Hans Prinzhorn, Baselitz was inspired by the freedom and unconventional beauty found in the art of the mentally ill, which resonated with his desire to explore outsider and avant-garde aesthetics. This period saw him confronting post-war Germany's unprocessed traumas and taboos through his art, employing motifs like solitary figures in desolate landscapes, phallic symbols, hearts, and crosses, all aimed at destabilizing conventional motifs and embracing a form of artistic construction that resists finality and content.

A significant feature of his work during this time is the introduction of a white line in his compositions around the mid-1960s, a formal device that allowed him to further fragment the picture plane and distinguish between motif and content, leading to his iconic style of inverted figures. This evolution reflects Baselitz's continuous exploration of the possibilities of painting, aiming for a liberation of the figure from traditional representational constraints, which became a hallmark of his later work. This period is considered crucial for understanding Baselitz's development as an artist, showcasing his journey towards innovative forms of expression that challenge and expand the boundaries of art​ (Phillips)​.