Georg Baselitz

In 1983, I saw large-sized linoleum cuts by Georg Baselitz at the Museum of Modern Art in New York. Years before, I had photographed Picasso working on some small linocuts and imagined that an artist who made such monumental ones must be exceptional. A few years later, I read a comprehensive article about Baselitz and became more and more interested in meeting him. I had the opportunity to do a monograph on his work and showed him the mock-up at Schloss Derneburg in Germany. Despite some language problems – Baselitz did not speak English and my knowledge of German was very limited – we got along very well and already agreed to create a photo book together on this first visit.

From then on, I visited Baselitz quite regularly and was especially eager to photograph him in his element, at work, and to show – as far as that was possible – the difficulties an artist faces in his creative work. During these working sessions, Baselitz and I established a visual dialogue between painter and photographer. Neither he nor I liked or needed to talk as we worked. I communicated with him through my photography; I made images and so did Baselitz, and in that way we had a conversation while creating our pictures.

Georg Baselitz über Quinn (2006)

The rights for the Baselitz photos are controlled and handled by the Hall Art Foundation. Please contact for reproductions etc.  images_at_hallartfoundation.org

Meeting other artists:

Artists in their Studios