The 1980s were a pivotal decade for Georg Baselitz, marking significant evolutions in his artistic approach and international recognition. This period was characterized by Baselitz's exploration of new themes and a shift towards a more expressive use of paint and color, resulting in works of great vigor and formal power. Notably, this decade saw Baselitz delve into sculpture, employing a tactile methodology that mirrored his painting technique, using tools like chainsaws, axes, and chisels to create works that were both primitive and brutal in their expression. These sculptures, often originating from folk art and African carvings, underscored Baselitz's continued interest in exploring the materiality and expressiveness of his chosen mediums (GalleriesNow.net) (Thaddaeus Ropac). The beginning of the 1980s was marked by Baselitz's representation of Germany at the Venice Biennale alongside Anselm Kiefer, a moment that significantly boosted his international fame. Following this, Baselitz participated in numerous influential exhibitions worldwide, solidifying his status as a major figure in contemporary art. His work during this period, including series such as the "Orangenesser" (Orange Eaters) and "Trinker" (Drinkers), featured prosaic subject matters that became vehicles for exploring vibrant color relationships and gestural brushwork. These works demonstrated a departure from elegance towards a raw, expressive energy that was both striking and evocative (Thaddaeus Ropac). Another significant aspect of Baselitz's work in the 1980s was the incorporation of religious iconography, a development that added a new layer of depth and complexity to his oeuvre. Works such as "Die Dornenkrönung" (The Crowning with Thorns) and "Der Bote" (The Messenger), along with series like "Nachtessen in Dresden" (Supper in Dresden), alluded to biblical narratives, blending them with references to German Expressionism and the artist's personal iconography. These pieces not only highlighted Baselitz's evolving thematic concerns but also his continued experimentation with form and figuration (Thaddaeus Ropac). The 1980s were a transformative period for Baselitz, marked by a freer use of color and material, the integration of new themes, and a deepening of his engagement with the expressive potential of both painting and sculpture. His work from this decade reflects a maturation of his style and an ongoing commitment to pushing the boundaries of his medium, contributing significantly to the Neo-Expressionist movement and the broader landscape of contemporary art.
