»The painting partisan«

This is the term ­Cornelius Tittel recently used to describe Georg Baselitz in a review (3.11.2021) in Die Welt in connection with the major retrospective at the Centre Pompidou.
For Heiner Müller in a conversation (1991) with Alexander Kluge, »the partisan, in a modern, a technocratically defined structure, was like a dog on the highway.«
And it is within this outsider ­status that Tittel sees the artist Georg Baselitz mature over several decades into a monolith whom »the Académie des Beaux-Arts has now ­accepted as the sole German among its members. The sword presented to him at the formal ceremony was meant to symbolize his immortality. It was actually no longer needed though.«
We are pleased to announce, together with the editors Rainer Michael Mason and Detlev Gretenkort, that Volume IV (1989–1992) of the Graphic Works is now published; it contains works nos. 718–1010. Volume III had ­already established that Georg Baselitz’s graphic oeuvre stands on an equal footing with his paint­ings and sculptural work. It is with the diversity of his different technical approaches and solutions that the artist has not only shaped the medium over the course of several decades, but in its ­unparalleled virtuosity has positioned it at the ­forefront of postwar modernism.