Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 41 værker af Anselm Kiefer i vores katalog
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I galleriets øjne er Anselm Kiefers mest berømte maleri Athanor (1984), hvis original hænger på Toledo Museum of Art i Toledo. Seraphim (1984) og Böhmen liegt am Meer (Bohemia Lies by the Sea) (1996) fuldender trioen, som ethvert øje genkender. Ud af de 41 værker af Anselm Kiefer i vores katalog præsenterer galleriet herunder de 41 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
In the vast, haunting expanse of Anselm Kiefer’s Athanor, viewers are invited into a liminal space where history and myth collide. Created between 1983 and 1984, this monumental work serves as a profound meditation on the layers of time, much like the alchemical furnace from which it draws its name. The painting presents an architectural dreamscape—a corridor of arched doorways and shadowed halls that feels simultaneously ancient and immediate. As…
The presence of Seraphim commands the space it occupies, a monumental work by Anselm Kiefer that breathes with a heavy, historical weight. Created between 1983 and 1984, this piece emerges from a period of intense creative exploration for the artist. It exists as a vital component of Kiefer's Angel series, a sequence of works that grapple with the intersection of the celestial and the terrestrial. The sheer scale of the…
The work presents a large-scale composition spanning 191 x 561 cm. It is composed of two distinct horizontal sections that create a sense of depth across the immense surface. The texture is heavy and dense, characterized by thick impasto layers that rise from the burlap substrate. These layers of oil, emulsion, shellac, charcoal, and powdered paint create a three-dimensional topography. The surface appears fragmented and irregular, with lines that lack…
Anselm Kiefer’s 1997 work, Only with Wind, Time, and Sound, emerges from a series of large-format explorations into ancient structures. The composition is dominated by a central, triangular form topped with a pyramid, a shape that suggests a threshold between the terrestrial and the celestial. This geometry is not clean or mathematical; instead, it is built from a heavy, tactile accumulation of materials. Rocks and bricks form the apex, lending…
In the profound and visceral world of Anselm Kiefer, Glaube, Hoffnung, Liebe emerges as a monumental testament to the tension between the material earth and the ethereal heavens. This extraordinary work, created in 1986, serves as a philosophical investigation into the very possibility of transcendence. At first glance, the viewer is confronted by a weathered, metallic propeller, its three blades heavy with the weight of lead. This central object acts…
In the vast, sweeping expanse of Anselm Kiefer’s The Fertile Crescent, viewers are invited into a world where the boundaries between architecture, humanity, and nature dissolve into a singular, breathtaking vision. Spanning an incredible 762 x 330 cm, this mixed-media masterpiece commands the space it inhabits, acting less like a mere painting and more like a window into a sprawling, mythic landscape. The composition is anchored by a formidable structure,…
The artwork titled Jerusalem is a creation by the artist Anselm Kiefer. Born in 1945 in Donaueschingen, Germany, Kiefer is a living artist whose practice involves the use of heavy, layered materials to address historical and physical presence. This specific piece, Jerusalem, presents a heavily textured and layered abstract composition. The surface is characterized by a rough, uneven quality that suggests the application of thick impasto and various mixed media…
This work’s title comes from "Death Fugue" by the Romanian-Jewish poet and Holocaust survivor Paul Celan (1920–1970). Widely read in postwar Germany, the poem is set in a concentration camp and narrated by the Jewish inmates, who suffer under the camp’s blue-eyed commandant. Singing "your golden hair, Margarete / your ashen hair, Shulamith," they contrast German womanhood, personified by Margarete, and Jewish womanhood (Shulamith was King Solomon’s dark-haired beloved in…
Throughout his nearly fifty-year career, Kiefer has never been afraid to wrestle with history. His art—particularly in its worked and layered surfaces weathered by time and nature—is a visceral and poetic consideration of the past as a means to understand our collective present and, by implication, our future. This monumental work references a plan, devised by U.S. Secretary of the Treasury Henry Morgenthau during World War II, to destroy Germany’s…
Die Welle (The Wave)1990 · Art Museum
12
Les Reines De France1995 · Solomon R. Guggenheim Museum
13
Nigredo, (290 Kb)_ Oil, acrylic, emulsion, shell (1984)
14
Margarete, (290 Kb)_ Oil and straw on canvas, (1981) - (28)
15
Goldhair Margarete
16
Big Iron Fist, Germany1980
17
Gilgamesh and Enkidu in the Cedar Forest II1981 · Guggenheim Museum Bilbao
18
Ways of Worldly Wisdom Arminius's Battle
19
The red sea, (240 Kb)_ Oil, emulsion, and she (1985)
20
Heroic Symbols1969
21
für Jean Genet1969 · Art Gallery of New South Wales
22
Reservoir1971
23
Virginia Woolf1975
24
A Ship Will Come1974
25
Iconoclastic Controversy1980 · Guggenheim Museum Bilbao
26
Lot's Wife1989 · Cleveland Museum of Art
27
Berenice1989 · Guggenheim Museum Bilbao
28
Athanor2007
29
For Robert Fludd1996 · Guggenheim Museum Bilbao
30
Sick Art1974
31
March sand
32
Resurrexit, (200 Kb)_ Oil, acrylic, and charcoal (1973)
33
Die meistersinger, (290 Kb)_ Oil, emulsion, a (1982)
34
March heath, (260 Kb)_ Oil, acrylic, and shellac (1974)
35
Nero paints, (290 Kb)_ Oil on canvas, 220 x (1974) - (300)
36
Nuremberg, (320 Kb)_ Acrylic, emulsion, and stra (1982)
37
Wooden room
38
Grane
39
Man Lying with Branch1971
40
Winter Landscape1970
41
SternenfallMAXXI National Museum of XXI Century Arts
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Anselm Kiefer | Malerier fra denne liste |
|---|---|---|---|
 Guggenheim Museum Bilbao |
Bilbao | 5 | Only with Wind, Time, and Sound, Gilgamesh and Enkidu in the Cedar Forest II, Iconoclastic Controversy |
 Solomon R. Guggenheim Museum |
New York | 2 | Seraphim, Les Reines De France |
 Art Gallery of New South Wales |
Sydney | 2 | Glaube, Hoffnung, Liebe, für Jean Genet |
 Toledo Museum of Art |
Toledo | 1 | Athanor |
 Albertina Klosterneuburg |
Klosterneuburg | 1 | The Fertile Crescent |
 Art Museum |
Seattle | 1 | Die Welle (The Wave) |
 Cleveland Museum of Art |
Cleveland | 1 | Lot's Wife |
 MAXXI National Museum of XXI Century Arts |
Rom | 1 | Sternenfall |
Vælg et årti for at se det originale værk, der definerer det.
This work derives from Kiefer’s staged photographs of 1969. In a provocation beyond the illicit subject matter, the artist chose the ironic title "Heroic Symbols" after a 1943 article published in the National Socialist Party propaganda journal Art of the German Reich, which promoted the importance of presenting the national heroism of the past to the citizens of Nazi Germany. Kiefer paired his self-portrait with another watercolor of a luminous…
In the vast, haunting expanse of Anselm Kiefer’s Athanor, viewers are invited into a liminal space where history and myth collide. Created between 1983 and 1984, this monumental work serves as a profound meditation on the layers of time, much like the alchemical furnace from which it draws its name. The painting presents an architectural dreamscape—a corridor of arched doorways and shadowed halls that feels simultaneously ancient and immediate. As…
The work presents a large-scale composition spanning 191 x 561 cm. It is composed of two distinct horizontal sections that create a sense of depth across the immense surface. The texture is heavy and dense, characterized by thick impasto layers that rise from the burlap substrate. These layers of oil, emulsion, shellac, charcoal, and powdered paint create a three-dimensional topography. The surface appears fragmented and irregular, with lines that lack…
In the vast, sweeping expanse of Anselm Kiefer’s The Fertile Crescent, viewers are invited into a world where the boundaries between architecture, humanity, and nature dissolve into a singular, breathtaking vision. Spanning an incredible 762 x 330 cm, this mixed-media masterpiece commands the space it inhabits, acting less like a mere painting and more like a window into a sprawling, mythic landscape. The composition is anchored by a formidable structure,…
Throughout his nearly fifty-year career, Kiefer has never been afraid to wrestle with history. His art—particularly in its worked and layered surfaces weathered by time and nature—is a visceral and poetic consideration of the past as a means to understand our collective present and, by implication, our future. This monumental work references a plan, devised by U.S. Secretary of the Treasury Henry Morgenthau during World War II, to destroy Germany’s…
Athanor (1984), Toledo Museum of Art, Toledo. Derefter følger Seraphim (1984) og Böhmen liegt am Meer (Bohemia Lies by the Sea) (1996).
39 år gammel: Athanor er fra 1984, og Anselm Kiefer blev født i 1945.
Athanor, Seraphim, Böhmen liegt am Meer (Bohemia Lies by the Sea), Only with Wind, Time, and Sound, Glaube, Hoffnung, Liebe, The Fertile Crescent, Jerusalem, Your Golden Hair, Margarete, Morgenthau Plan og Untitled (210). Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 41 værker af Anselm Kiefer, dateret fra 1969 til 2012.
Primært i Guggenheim Museum Bilbao (Bilbao), Solomon R. Guggenheim Museum (New York) og Art Gallery of New South Wales (Sydney). Museumslisten ovenfor viser dem alle.
I 1980s: 9 af de 41 værker på denne side blev skabt dengang, herunder Athanor.
På denne side er det tidligste Heroic Symbols (1969) og det seneste Morgenthau Plan (2012).
German history (10), Dark palette (4) og Earth tones (2), fordelt på de 41 værker på denne side.
Mixed Media, for 7 af de 41 værker på denne side.
Neo-expressionism, baseret på originalerne på denne side.
Only with Wind, Time, and Sound, Gilgamesh and Enkidu in the Cedar Forest II og Iconoclastic Controversy: Guggenheim Museum Bilbao, Bilbao har 5 af værkerne på denne side.
Anselm Kiefer står som en af de mest dybsindige og særprægede stemmer inden for neo-ekspressionismen, en kunstnerisk bevægelse, der opstod i slutningen af 1970'erne og begyndelsen af 1980'erne som en kraftfuld reaktion mod minimalismens og konceptkunstens nøgternhed. Født i Donaueschingen, Tyskland, i 1945, er Kiefers selve eksistens uadskillelig forbundet med eftervirkningerne af Anden Verdenskrig. Hans værk rækker langt ud over blot repræsentation; det er en gennemgribende, visceral udforskning af tysk historie – især dens dybe traumer – udtrykt gennem monumentale lærreder og skulpturer, der kræver en fysisk konfrontation fra beskueren. Hans kunstneriske rejse begyndte med grundige studier under Peter Dreher og Horst Antes ved Hochschule für Gestaltung Weinheim-Basel, hvor han lagde fundamentet for sin berømte eksperimenterende tilgang til det kunstneriske skaberværk.
Sjælen i Kiefers arbejde er dybt forankret i fortidens litterære skygger, mest bemærkelsesværdigt gennem Paul Celans hjemsøgende poesi. Det fragmenterede sprog og optagetheden af tab, som findes i Celans vers, havde en gennemgribende indvirkning på Kiefers tematiske fokus, specifikt vedrørende Holocaust og dens vedvarende, ofte tavse, eftervirkninger på den tyske kollektive hukommelse. Gennem sin kunst søger Kiefer at give form til denne tavshed og udforsker temaer som fravær, destruktion og den tunge byrde af en historisk arv. Hans værk skildrer ikke blot historien; det forsøger at udgrave den fra tidens og ruinernes lag.
Hvad der virkelig adskiller Kiefer fra hans samtidige, er hans bevidste og mesterlige brug af materialer, der bærer en enorm symbolsk vægt. Han behandler ikke lærredet som en flad overflade, men som et sted for geologisk og historisk transformation. Ved at inddrage ukonventionelle elementer som aske, strå, ler, bly og shellak skaber han værker, der føles mindre som malerier og mere som artefakter, der er hentet op fra en brændt jord. Hvert materiale tjener et narrativt formål:
Kiefers teknik er kendetegnet ved en intens, tyk impasto-lagdeling. Han påfører maling i flere, tætte lag for at skabe teksturerede overflader, der minder om brændt jord eller antikke geologiske formationer. Denne taktile tilgang er ikke blot dekorativ; den inddrager aktivt beskueren og tvinger dem til at konfrontere selve fysiskheden i hans proces. Skalaen på hans lærreder spejler ofte den monumentale skala af de historiske begivenheder, han adresserer, hvilket skaber et miljø, hvor beskueren opsluges af værkets tekstur og tyngde.
Som hans karriere skred frem, voksede Kiefers internationale anerkendelse gennem værker, der udfordrede grænserne mellem maleri, skulptur og installation. Hans evne til at væve myte, alkymi og historisk katastrofe sammen har sikret ham en plads som en titan inden for samtidskunsten. Uanset om han skildrer de dystre skygger af romerske kejsere eller de øde landskaber i det efterkrigstidens Europa, forbliver hans værk en vedvarende dialog med selve tidsbegrebet. Gennem sin beherskelse af tekstur og symbolik har Anselm Kiefer skabt et visuelt sprog, der er i stand til at artikulere de sværeste aspekter af menneskets historie, og som sikrer, at fortidens ar aldrig virkelig slettes, men snarere transformeres til dybsindige værker af vedvarende betydning.
