{"product_id":"georg-baselitz-tableaux-recents-dessins-linogravures-gillespie-laage-salomon-paris-1983","title":"GEORG BASELITZ — Tableaux récents, dessins et linogravures, Gillespie-Laage-Salomon, Paris, 1983","description":"\u003cp\u003eGeorg Baselitz. \u003cem\u003eTableaux récents, dessins et linogravures\u003c\/em\u003e. Gillespie-Laage-Salomon, Paris, 26 February–2 April 1983. Exhibition invitation. Printed card on textured cream stock; 15 × 10 cm. Brush-script “G Baselitz 83” to recto; black typography to verso.\u003c\/p\u003e\u003cp\u003eA small invitation for an exhibition of recent paintings, drawings and linocuts at Gillespie-Laage-Salomon, Paris, in early 1983. The date places it at a particularly significant point in Baselitz’s career. His first solo exhibition in Berlin in 1963 had ended with two paintings confiscated for obscenity. The \u003cem\u003eHelden\u003c\/em\u003e paintings followed in the mid-1960s, and in 1969 he began turning his motifs upside down — retaining recognisable imagery while disrupting the tendency to read a painting primarily through its subject. Through the 1970s he extended that approach across painting, drawing and printmaking, moving into sculpture around 1980.\u003c\/p\u003e\u003cp\u003eBy 1983 the wider art world had moved sharply back toward large-scale figurative painting. Baselitz had recently appeared in \u003cem\u003eA New Spirit in Painting\u003c\/em\u003e, \u003cem\u003eWestkunst\u003c\/em\u003e, Documenta 7 and \u003cem\u003eZeitgeist\u003c\/em\u003e. But he had already been dismantling and reconstructing figurative painting for almost twenty years. He was not simply part of the early-1980s return to painting. The return to painting had caught up with him.\u003c\/p\u003e\u003cp\u003eThe works around this period were becoming larger, rougher and increasingly entangled with the history of German Expressionism. In 1983 Baselitz completed major paintings including \u003cem\u003eNachtessen in Dresden\u003c\/em\u003e and \u003cem\u003eDer Brückechor\u003c\/em\u003e, while drawing, linocut and sculpture continued alongside painting. The apparently generic title \u003cem\u003eTableaux récents, dessins et linogravures\u003c\/em\u003e therefore captures several parts of the practice operating simultaneously. The exhibition also coincided with Baselitz’s transition into a fully international museum figure: a major retrospective opened at the Whitechapel Art Gallery in London in 1983 before travelling to the Stedelijk Museum and Kunsthalle Basel.\u003c\/p\u003e\u003cp\u003eThe invitation itself is unusually good. One side contains almost nothing except the handwritten-looking inscription: G Baselitz 83. Turn it over and the gesture is converted into administration: GEORG BASELITZ \/ TABLEAUX RÉCENTS \/ DESSINS ET LINOGRAVURES. Gallery. Date. Opening hours. The unruly mark on one side; institutional classification on the other.\u003c\/p\u003e\u003cp\u003eNothing on the card announces that Baselitz was entering a period of major international recognition. It simply performs the ordinary work of circulation: a name, an exhibition, an address, six weeks in Paris. Before art history becomes art history, it circulates as information.\u003c\/p\u003e\u003cp\u003eCondition: very good. Light age toning and minor handling consistent with period ephemera.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Gillespie-Laage-Salomon","offers":[{"title":"Default Title","offer_id":54238359454034,"sku":"BASELITZ-GLS-INV-1983","price":105.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Baselitz_Georg.Showinvite_TableauxRecents_.1983.jpg?v=1786512037","url":"https:\/\/thenewrare.com\/products\/georg-baselitz-tableaux-recents-dessins-linogravures-gillespie-laage-salomon-paris-1983","provider":"The New Rare","version":"1.0","type":"link"}