Without doubt Jörg Immendorff is one of the internationally most renowned and known German artists of the postwar period. Since the late sixties, the Düsseldorf-based artist continuously has been dealing with the political claims and contemporary possibilities of history painting. In large-scale cycles of painting such as the „Café Deutschland“ series from the mid-eighties, Immendorff repeatedly reacted to political everyday events and linked them to German history and the tradition of a politically engaged practice of painting in affluent allegorical tableaus. In these works he also always reflected on his own role and practice as an artist, for instance when self-portraits entered the space of his canvases.
Monday, March 26, 2012
Texte Zur Kunst
ARISTS' EDITIONS ISSUE NR. 60 "SOUNDS" JÖRG IMMENDORFF OHNE TITEL (2005)
Without doubt Jörg Immendorff is one of the internationally most renowned and known German artists of the postwar period. Since the late sixties, the Düsseldorf-based artist continuously has been dealing with the political claims and contemporary possibilities of history painting. In large-scale cycles of painting such as the „Café Deutschland“ series from the mid-eighties, Immendorff repeatedly reacted to political everyday events and linked them to German history and the tradition of a politically engaged practice of painting in affluent allegorical tableaus. In these works he also always reflected on his own role and practice as an artist, for instance when self-portraits entered the space of his canvases.
Without doubt Jörg Immendorff is one of the internationally most renowned and known German artists of the postwar period. Since the late sixties, the Düsseldorf-based artist continuously has been dealing with the political claims and contemporary possibilities of history painting. In large-scale cycles of painting such as the „Café Deutschland“ series from the mid-eighties, Immendorff repeatedly reacted to political everyday events and linked them to German history and the tradition of a politically engaged practice of painting in affluent allegorical tableaus. In these works he also always reflected on his own role and practice as an artist, for instance when self-portraits entered the space of his canvases.
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