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Georg Baselitz, Keine Frage, Euphorismus (No Question, Euphorism), 2025, oil and gold oil paint on canvas

Gagosian · Chelsea

Georg Baselitz: Meine Schule

Laster2026(e)ko azaroaren 12(a) – 2027(e)ko urtarrilaren 23(a)·Doan

Georg Baselitz's last completed paintings and sculptures, curated by Richard Calvocoressi, at 555 West 24th Street; the gallery's first Baselitz show since his death in April.

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Two of the paintings show schoolchildren lined up beneath a banner reading Ein Volk, Ein Reich, Ein Führer. It hung outside the schoolhouse in Deutschbaselitz, where Baselitz's father taught and the family lived during the war. It is the artist's earliest memory, and neither painting has been shown before.

Baselitz died in April and conceived and designed this show himself, around his last completed paintings. In the rest of them, tilt your head: the couple drawn in fine black lines on gold is Baselitz and his wife, Elke, upside down, each with a burst of bright impasto he called "a misplaced Willem de Kooning". There are also two monumental bronzes, including his last sculpture, Strawinsky, a seated figure over seven feet tall whose head and limbs collapse while its trunk stays upright.

Entry is free at 555 West 24th Street, Tuesday to Saturday 10am to 6pm. The opening reception is Thursday 12 November, 6 to 8pm, and the show runs until 23 January.

Ez galdu

  • Meine Schule, die Jungs and Meine Schule, die Mädchen (2026)

    Boys in one, girls in the other, standing before the Nazi banner hung on his father's school on days like Hitler's birthday; neither has been exhibited before.

  • Strawinsky (2026)

    His last sculpture: a white-patinated bronze seated figure, over seven feet tall, from his puppet designs for The Soldier's Tale, its trunk upright and its head and limbs collapsing.

  • 1965 (2024)

    A second monumental bronze with the same rough, tactile surface but dark, based on Baselitz's own figure in A. R. Penck's 1964-65 group portrait of four friends.

  • The gold paintings

    Baselitz and Elke upside down in thin, ink-like black lines on gold grounds, each interrupted by a cluster of colourful impasto he called "a misplaced Willem de Kooning".

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