Jorg Immendorff

Jörg Immendorff * (Bleckede, Elbe 1945–2007 Düsseldorf) Untitled, signed, dated Immendorff 01, oil on canvas, 80 x 80 cm, on stretcher, (PS) Literature: Exhibition catalogue Jörg Immendorff, Allen Dingen ist der Wechsel eigen, Staatliches Russisches Museum, 2001 (studio view with the present work, p. 4, p. 20 and p. 166f) Where can I view this item? How do I bid? How do I take possession of my item? What fees are added to the highest bid (the hammer price)? Information about packing/shipping/collection

Jörg Immendorff Bleckede/Elbe 1945 – 2007 Dusseldorf „LIDLSPORT RINGMATTE“ 1969. Packing paper (folded) with stamp and calling card in a plastic bag. Packing paper: 99,8 x 75 cm, calling card: 7 x 10,5 cm (39 ¼ x 29 ½ in., calling card: 2 ¾ x 4 ⅛ in.) Packing paper with stamp in blue on the reverse: IMMENDORFF 69. VICE-Versand, Remscheid 1969.

Jörg Immendorff * (Bleckede, Elbe 1945–2007 Düsseldorf) Malerstamm Will, 2002, signed Immendorff, bronze, no. 3/6, foundry mark Schmäke Düsseldorf, 93 x 30 x 46.5 cm, (PS) Provenance: Private Collection, Rheinland Literature: Exhibition catalogue Neue Nationalgalerie Berlin, Jörg Immendorff, Male Lago, Eds. Anette Hüsch, Peter-Klaus Schuster, Berlin 2005, cat. no. 125, p. 820 (full page ill. of an unspecified cast from the edition), p. 868

Jörg Immendorff (1945-2007) Parlament: sicher wieder so ein Irrer in der DDR signed and dated 'J Immendorf 78' (lower right), inscribed 'sicher wieder so ein Irrer in der DDR 17.9.78' (upper right) oil on canvas 200 x 200 cm. Painted in 1978 Galerie Michael Werner, Cologne. Gallery Giò Marconi, Milan. PROPERTY FROM A PRIVATE ITALIAN COLLECTION A.B. Oliva, Transavanguardia International, Milan 1982, p. 109 (illustrated). Mailand, Studio Marconi, La nuova pittura tedesca, 16 March-27 April 1982 (p. 42). Parlament: sicher wieder so ein Irrer in der DDR is an important painting by Jörg Immendorff, which comments directly on the division of Germany. Since Immendorff began painting in the middle of the 1960's he has attempted to communicate with the viewer. In this way his paintings often take the form of a scene that is opened up in front of the viewer. We are not confronted with the world or with a fragment of it - but we see an arrangement structured as a dramatic situation; the picture as a social space, where Immendorff combines his role as homo politicus with his artistic aims. Painted in 1978, this work shows a bizarre scene of the German Parliament which powerfully expresses the political climate of the divided Germany at this time and that formulates questions concerning the political situation. It is the painted question as to how the future of Germany should be. In this work various parallel actions can be observed as well as the painter's metaphorical and symbolical vocabulary is depicted homogenously. In the front one can see former Chancellor Willy Brandt, who represented a figure of change, and followed a course of social, legal, and political reforms. By the mid-seventies the euphoria of the post-68-Brandt-era has evaporated in Germany. In 1974 Brandt resigned from his position as the Chancellor because of the so-called Guillaume-affair: Brandt's personal assistant Guenter Guillaume had been an espionage agent for East Germany. The three figures in front of Brandt remind the viewer of the wise monkeys as a symbol of the proverbial principle "see no evil, hear no evil, speak no evil" - in the Western world this image is used to refer to a lack of moral responsibility. The background of the picture is a colourful panorama into which a former current event is inserted: On 17 September 1978 the evangelic priest Rolf Günther immolated himself in protest of the discriminatory of Stasi in Falkenstein (former GDR). Near to this scene again the eagle populates this painting, once a royal bird and a symbol of pride and victory, has now been brought down to earth. A change of conditions was not foreseeable on either side of the border. 'It has always been true that a picture leads its own life, has its own story. The motives for its being painted are really of no importance whatsoever. The result is what matters, the motives for producing a painting are just Zeitgeist' (Jörg Immendorff in: Kunst heute, No. 11, Cologne 1993, p.58).

Jörg Immendorff (1945-2007) Auf zum 38. Parteitag (Let's go to the 38th Party Conference) signed and dated 'Immendorff 83' (upper left) and titled 'Auf zum 38. Parteitag' (lower centre) oil on canvas 74¾ x 86 5/8in. (190 x 220cm.) Painted in 1983 Galerie Michael Werner, Cologne. Acquired from the above by the present owner. Immendorff, exh. cat., Zurich, Kunsthaus Zürich, 1984, no. 137. Jörg Immendorff, exh. cat., Brunswick, Kunstverein Braunschweig, 1985 (illustrated in colour, p. 83). K. Honnef, Kunst der Gegenwart, Köln 1990 (illustrated, p. 18). H.-N. Jocks, 'Jörg: "Ein Künstler ist kein Kopf voller öfarben, die er mit sich rumschwappt", in Kunstforum international, vol. 125, 1994, p. 267. Immendorff, exh. cat., Rotterdam, Museum Boymans-van-Beuningen, 1992 (illustrated, p. 173). Oxford, Museum of Modern Art Oxford, Jörg Immendorff, 1984, no. 15 (illustrated in colour, p. 37). Painted in 1983, Auf zum 38. Parteitag (Let's go to the 38th Party Conference) forms part of Jörg Immendorff's celebrated Café Deutschland series. One of sixteen large scale paintings from the artist's best known body of work, other examples are included in the collection of Museum of Modern Art, New York and, and Ludwig Museum, Berlin. A particularly striking example in a vibrant palette of the red, black, and yellow of the German flag interrupted by vivid blue, Auf zum 38. Parteitag depicts a boisterous scene set at the fictional Café Deutschland nightclub on the east-west border of Germany. While the architecture for the series was inspired by from Renato Guttuso's Café Greco, the furniture and characters vary from painting to painting. Here, the buzzing crowd of the café features varied Communist figures throughout history including Adolf Hitler, Vladimir Lenin, and Joseph Stalin. Intermingling amidst contemporary punk rockers, the suggestively posed figures recall the unruly parties that the artist was renowned for throughout the 1980s. The title suggesting an invitation to an imagined Communist rally never to materialize; the punk rockers rendering the political figures antiquated and awkward. The shifting perspective reveals further surreal vignettes loaded with artifice and spectacle: the horse of Brandenburg Gate encircle the scene, while a devil figure looms menacingly in the top left corner. The madness and mayhem of Immendorff's tormented vision conveys the conflicting ideologies of East and West Germany at the time; the adopted socialist realist style representing the artistic divide between East and West Germany. Heavily laden with political iconography and imagery, the artist states the Café Deutschland address and represent 'the situation of a divided Germany, but they are... also about alienation. They represent my attempt to break through a wall - and not merely the one that separated the former East and West Germanies. How odd is that, despite the many ways we have of communicating with one another, we seem to be building up walls between ourselves rather than dismantling them. So the Café Deutschland paintings stand just as much for a then externally divided Germany as for the condition of an internally split man, who struggles to communicate not only with himself but also with his colleagues and lovers.' (J. Immendorff quoted in 'Interview with Pamela Kort', in Artforum, March 2003, vol. 41, no. 7).