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Za ljubitelje galerije, najpoznatije delo umetnika Anselm Kiefer je Athanor (1984), čiji se original nalazi u muzeju Toledo Museum of Art, Toledo. Seraphim (1984) i Böhmen liegt am Meer (Bohemia Lies by the Sea) (1996) čine triju koju svako oko prepoznaje. Od 41 dela umetnika Anselm Kiefer u našem katalogu, galerija u nastavku predstavlja 39 najpoznatijih dela, od kojih je svako originalno, sa navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
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…
In this intimate watercolor, titled Your Golden Hair, Margarete, the artist Anselm Kiefer presents a quiet, focused study of the natural world. Created about 1980, the work measures 40 x 30 cm. It captures a specific, localized view of a field, focusing on the textures and varied life cycles of the flora present within the frame.
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…
Les Reines De France1995 · Solomon R. Guggenheim Museum
12
Nigredo, (290 Kb)_ Oil, acrylic, emulsion, shell (1984)
13
Margarete, (290 Kb)_ Oil and straw on canvas, (1981) - (28)
14
Goldhair Margarete
15
Big Iron Fist, Germany1980
16
Gilgamesh and Enkidu in the Cedar Forest II1981 · Guggenheim Museum Bilbao
17
Ways of Worldly Wisdom Arminius's Battle
18
The red sea, (240 Kb)_ Oil, emulsion, and she (1985)
19
Heroic Symbols1969
20
für Jean Genet1969 · Art Gallery of New South Wales
21
Reservoir1971
22
Virginia Woolf1975
23
A Ship Will Come1974
24
Iconoclastic Controversy1980 · Guggenheim Museum Bilbao
25
Berenice1989 · Guggenheim Museum Bilbao
26
Athanor2007
27
For Robert Fludd1996 · Guggenheim Museum Bilbao
28
Sick Art1974
29
March sand
30
Resurrexit, (200 Kb)_ Oil, acrylic, and charcoal (1973)
31
Die meistersinger, (290 Kb)_ Oil, emulsion, a (1982)
32
March heath, (260 Kb)_ Oil, acrylic, and shellac (1974)
33
Nero paints, (290 Kb)_ Oil on canvas, 220 x (1974) - (300)
34
Nuremberg, (320 Kb)_ Acrylic, emulsion, and stra (1982)
35
Wooden room
36
Grane
37
Man Lying with Branch1971
38
Winter Landscape1970
39
SternenfallMAXXI Nacionalni muzej umetnosti XXI veka
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
6 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Anselm Kiefer | Slike iz ovog spiska |
|---|---|---|---|
 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 |
Sidnej | 2 | Glaube, Hoffnung, Liebe, für Jean Genet |
 Toledo Museum of Art |
Toledo | 1 | Athanor |
 Albertina Klosterneuburg |
Klosterneuburg | 1 | The Fertile Crescent |
 MAXXI Nacionalni muzej umetnosti XXI veka |
Rim | 1 | Sternenfall |
Izaberite deceniju da biste videli original koji je definiše.
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. Slede Seraphim (1984) i Böhmen liegt am Meer (Bohemia Lies by the Sea) (1996).
39 godina: Athanor datira iz 1984, a Anselm Kiefer je rođen/a 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 i Untitled (210). Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 41 dela umetnika Anselm Kiefer, datiranih od 1969 do 2012.
Većinom u Guggenheim Museum Bilbao (Bilbao), Solomon R. Guggenheim Museum (New York) i Art Gallery of New South Wales (Sidnej). Tabela muzeja iznad sadrži njih sve.
U 1980s: 8 od 39 dela na ovoj stranici nastalo je tada, od čega je Athanor.
Na ovoj stranici, najstarije delo je iz Heroic Symbols (1969), a najnovije iz Morgenthau Plan (2012).
German history (10), Dark palette (4) i Field (2), kroz svih 39 dela na ovoj stranici.
Mixed Media, za 7 od 39 dela na ovoj stranici.
Neo-expressionism, sudeći po originalima na ovoj stranici.
Only with Wind, Time, and Sound, Gilgamesh and Enkidu in the Cedar Forest II i Iconoclastic Controversy: Guggenheim Museum Bilbao, Bilbao čuva 5 dela sa ove stranice.
Anselm Kiefer predstavlja jedan od najdubljih i najprepoznatljivijih glasova neoekspresionizma, umetničkog pokreta koji je proizašao krajem 1970-ih i početkom 1980-ih kao snažna reakcija protiv strogosti minimalizma i konceptualne umetnosti. Rođen u Donaueschingen-u u Nemačkoj 1945. godine, sam Kieferov egzistencijalni trenutak neraskidivo je povezan sa posledicama Drugog svetskog rata. Njegovo delo prevazilazi puku reprezentaciju; ono je prožeto, visceralno istraživanje nemačke istorije — naročito njene duboke traume — izraženo kroz monumentalna platna i skulpture koje od posmatrača zahtevaju fizički susret. Njegovo umetničko putovanje započelo je rigoroznim studijama kod Petera Drehera i Horsta Antesa na Hochschule für Gestaltung Weinheim-Basel, gde je postavio temelje svom čuvenom eksperimentalnom pristupu stvaranju umetnosti.
Duša Kieferovog rada duboko je ukorenjena u književnim senkama prošlosti, najpre svega kroz proganjajuću poeziju Paula Celana. Fragmentirani jezik i opsednutost gubitkom koji se nalaze u Celanovim stihovima profoundly su uticali na Kieferove tematske okoline, posebno u pogledu Holokausta i njegovih trajnih, često tih, posledica na nemačko kolektivno sećanje. Kroz svoju umetnost, Kiefer nastoji da ovom tišini pruži oblik, istražujući teme odsustva, uništenja i teškog tereta istorijskog nasleđa. Njegovo delo ne prikazuje samo istoriju; ono pokušava da je iskopuje iz slojeva vremena i ostataka.
Ono što Kiefera istinski izdvaja od njegovih savremenika jeste njegova namerna i majstorska upotreba materijala koji nose ogromnu simboličku težinu. On ne tretira platno kao ravnu površinu, već kao mesto geološke i istorijske transformacije. Uključivanjem nekonvencionalnih elemenata kao što su pepeo, slama, glina, olovo i šelak, on stvara dela koja deluju manje kao slike, a mnogo više kao artefakti pronađeni na spaljenoj zemlji. Svaki materijal služi narativnoj svrsi:
Kieferova tehnika karakteriše intenzivno, debelo slojevit impasto. On nanosi boju u višestrukim, gustim slojevima kako bi stvorio teksturalne površine koje podsećaju na spaljenu zemlju ili drevne geološke formacije. Ovaj taktilni pristup nije samo dekorativan; on aktivno angažuje posmatrača, primoravajući ga da se suoči sa čistom fizičkim prirodom njegovog procesa. Razmera njegovih platna često odražava monumentalnu razmeru istorijskih događaja kojima se bavi, stvarajući okruženje u kojem posmatrač biva progutana tekstura i gravitacija samog dela.
Kako je njegova karijera napredovala, Kieferovo međunarodno priznanje raslo je kroz dela koja su pomerala granice između slikarstva, skulpture i instalacije. Njegova sposobnost da ispreplete mit, alhemiju i istorijsku katastrofu osigurala mu je mesto titana savremene umetnosti. Bilo da prikazuje mračne senke rimskih imperatora ili pustoš evropskih pejzaža nakon rata, njegov rad ostaje neprekidni dijalog sa samim konceptom vremena. Kroz svoje majstorstvo u teksturi i simbolizmu, Anselm Kiefer je stvorio vizuelni jezik sposoban da artikuliše najteže aspekte ljudske istorije, osiguravajući da ožiljci prošlosti nikada ne budu zaista izbrisani, već transformisani u duboka dela trajnog značaja.
