Paper

Student Artwork Guide

A Ship Will Come

Name Class Date

Anselm Kiefer, A Ship Will Come (1974). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Anselm Kiefer originaluniqueart.com/en/artists/anselm-kiefer/
Artist’s dates
1945 –
Painted
1974
Original size
24 x 20 cm
Movement
Impressionism Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio.

In context

A Ship Will Come — Anselm Kiefer

How big is it?

The original measures 24 × 20 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1940
  2. 1950
  3. 1960
  4. 1970
  5. 1980
  6. 1990
  7. 2000
  8. 2010

Row above: the years. Row below: how old the artist was at the start and at the end of each span, counting 0 from birth.

Painted when the artist was 29. 5 of the 22 dated works by this artist in our catalogue came earlier.

▲ this work, 1974 every dated painting, decade by decade

First works: up to 1974 Main working years: 1974–1995 Late works: from 1995

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/anselm-kiefer-a-ship-will-come-D2Y479-en/

Colours

Measured from the image

    Main colour

    Putty #f2ddbc

    Catalogued palette

    • #F2DDBC
    • #ABA8A8
    • #6C6D81
    • #DE9C5D

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Putty
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Anselm Kiefer over the last twelve months — 13 countries in all. Where these figures come from

    The ten leading countries

    1. 1 Denmark 25.9%1,500 visits
    2. 2 Italy 17.2%1,000 visits
    3. 3 China 12.1%700 visits
    4. 4 Germany 12.1%700 visits
    5. 5 Netherlands 10.3%600 visits
    6. 6 United States of America 10.3%600 visits
    7. 7 Argentina 1.7%100 visits
    8. 8 Brazil 1.7%100 visits
    9. 9 United Kingdom 1.7%100 visits
    10. 10 Israel 1.7%100 visits
    11. · 3 other countries 5.3%300 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Anselm Kiefer

    1. 1 Athanor, 1984 32.0%3,300 visits
    2. 2 Böhmen liegt am Meer (Bohemia Lies by the Sea), 1996 21.4%2,200 visits
    3. 3 Die meistersinger, (290 Kb)_ Oil, emulsion, a (1982) 5.8%600 visits
    4. 4 Only with Wind, Time, and Sound, 1997 3.9%400 visits
    5. 5 Seraphim, 1984 3.9%400 visits
    6. 6 Gilgamesh and Enkidu in the Cedar Forest II, 1981 3.9%400 visits
    7. 7 Morgenthau Plan, 2012 3.9%400 visits
    8. 8 Nigredo, (290 Kb)_ Oil, acrylic, emulsion, shell (1984) 3.9%400 visits
    9. 9 Nero paints, (290 Kb)_ Oil on canvas, 220 x (1974) - (300) 2.9%300 visits
    10. 10 The Fertile Crescent, 2009 1.9%200 visits
    11. 11 Jerusalem 1.9%200 visits
    12. 12 Les Reines De France, 1995 1.9%200 visits
    13. 13 Your Golden Hair, Margarete, 1980 1.9%200 visits
    14. 14 Nuremberg, (320 Kb)_ Acrylic, emulsion, and stra (1982) 1.9%200 visits
    15. 15 March heath, (260 Kb)_ Oil, acrylic, and shellac (1974) 1.9%200 visits
    16. 16 Untitled (210) 1.9%200 visits
    17. 17 Margarete, (290 Kb)_ Oil and straw on canvas, (1981) - (28) 1.9%200 visits
    18. 18 A Ship Will Come, 1974 this painting 1.0%100 visits
    19. 19 March sand 1.0%100 visits
    20. 20 Reservoir, 1971 1.0%100 visits

    Together these works take 99.8% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 38 works by this artist, of which 20 were looked at at least once. This painting ranks 18 of them, with 1.0% of that attention (100 visits). The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    A Ship Will Come — Anselm Kiefer

    In summer 1974 Kiefer traveled to the northernmost region of Norway, the North Cape, on the Arctic Ocean, taking Polaroids and collecting postcards of the stunning landscape for later use in the studio. Here, an image of a cruise ship against the backdrop of a magnificent fjord and the glowing midnight sun becomes the personification of, in Kiefer"s words, the "perfect kitsch song of the student revolution" of the 1960s—"A Ship Will Come"—which was popular in the Germany of Kiefer"s youth and, for the artist, full of unrealized, even vulgar, utopian yearning.

    Artist and museum

    Artist

    Anselm Kiefer

    Born in Donaueschingen, Germany

    The Weight of Memory: The Art of Anselm Kiefer

    Anselm Kiefer stands as one of the most profound and distinctive voices within Neo-Expressionism, an artistic movement that emerged in the late 1970s and early 1980s as a powerful reaction against the austerity of Minimalism and Conceptual Art. Born in Donaueschingen, Germany, in 1945, Kiefer’s very existence is inextricably linked to the aftermath of World War II. His oeuvre transcends mere representation; it is an immersive, visceral exploration of German history—particularly its profound trauma—expressed through monumental canvases and sculptures that demand a physical confrontation from the viewer. His artistic journey began with rigorous studies under Peter Dreher and Horst Antes at the Hochschule für Gestaltung Weinheim-Basel, where he established a foundation for his famously experimental approach to artmaking.

    The soul of Kiefer’s work is deeply rooted in the literary shadows of the past, most notably through the haunting poetry of Paul Celan. The fragmented language and preoccupation with loss found in Celan's verse profoundly impacted Kiefer’s thematic concerns, specifically regarding the Holocaust and its lingering, often silent, effects on German collective memory. Through his art, Kiefer seeks to give form to this silence, exploring themes of absence, destruction, and the heavy burden of historical legacy. His work does not merely depict history; it attempts to excavate it from the layers of time and debris.

    Materiality and the Alchemy of Destruction

    What truly distinguishes Kiefer from his contemporaries is his deliberate and masterful use of materials that carry immense symbolic weight. He treats the canvas not as a flat surface, but as a site of geological and historical transformation. By incorporating unconventional elements such as ash, straw, clay, lead, and shellac, he creates works that feel less like paintings and much more like artifacts recovered from a scorched earth. Each material serves a narrative purpose:

    Ash: Derived from burned forests, ash acts as a poignant reminder of ecological devastation and the literal and metaphorical destruction wrought by war.

    Straw: This element introduces a sense of fragility, representing the vulnerability of human life against the overwhelming forces of nature and history.

    Lead: A heavy, somber medium that provides a sense of permanence and the crushing weight of the past.

    Kiefer’s technique is characterized by an intense, thick impasto layering. He applies paint in multiple, dense coats to create textured surfaces that resemble scorched earth or ancient geological formations. This tactile approach is not merely decorative; it actively engages the viewer, forcing them to confront the sheer physicality of his process. The scale of his canvases often mirrors the monumental scale of the historical events he addresses, creating an environment where the viewer is swallowed by the texture and gravity of the work.

    Legacy and Historical Significance

    As his career progressed, Kiefer’s international recognition grew through works that challenged the boundaries between painting, sculpture, and installation. His ability to weave together myth, alchemy, and historical catastrophe has secured his place as a titan of contemporary art. Whether he is depicting the brooding shadows of Roman emperors or the desolate landscapes of post-war Europe, his work remains a continuous dialogue with the concept of time itself. Through his mastery of texture and symbolism, Anselm Kiefer has created a visual language capable of articulating the most difficult aspects of human history, ensuring that the scars of the past are never truly erased, but rather transformed into profound works of enduring significance.

    Where to read more

    Find this online

    QR code linking to the download page for A Ship Will Come

    originaluniqueart.com/en/art/download/anselm-kiefer-a-ship-will-come-D2Y479-en/

    Cite this artwork

    MLA
    Kiefer, Anselm. A Ship Will Come. 1974, https://originaluniqueart.com/en/art/anselm-kiefer-a-ship-will-come-D2Y479-en/
    APA
    Kiefer, Anselm (1974). A Ship Will Come [Painting]. https://originaluniqueart.com/en/art/anselm-kiefer-a-ship-will-come-D2Y479-en/
    Chicago
    Anselm Kiefer. A Ship Will Come. 1974. https://originaluniqueart.com/en/art/anselm-kiefer-a-ship-will-come-D2Y479-en/
    Harvard
    Kiefer, Anselm (1974) A Ship Will Come. Available at: https://originaluniqueart.com/en/art/anselm-kiefer-a-ship-will-come-D2Y479-en/

    Look closely

    A Ship Will Come — Anselm Kiefer

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: maritime landscape, ship arrival theme, arctic norway scene. Do you agree? What would you add, or take away?
    4. Look back at Athanor (1984), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Impressionism: Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    What are the format and size of "A Ship Will Come"?

    "A Ship Will Come" by Anselm Kiefer is a portrait composition measuring 24 x 20 cm in the original.

    How light is "A Ship Will Come" overall?

    In terms of perceived brightness, "A Ship Will Come" by Anselm Kiefer is brilliant.

    How much light do the colors of "A Ship Will Come" appear to reflect?

    "A Ship Will Come" by Anselm Kiefer has a luminous luminance. Luminance describes how much light the colors appear to reflect.