​安塞姆·基弗 | 废墟之中的画界诗人

绘画是为认识，认识是为绘画。我着手每一个新主题、处理每一种体验时，首先是没有任何讨论的。认识是在绘画过程中产生的，但进而所获得的观点又改变了绘画。这样一个过程，这样一种循环推论，是我们在每一幅画的创作中都可以应用的。

——安瑟姆·基弗

Gehäutete Landschaft, 190 x 330 x 55 cm ，2015-2017

Oil, emulsion, acrylic, shellac, lead and metal on canvas on wood

The Painter's Studio，280x380x5cm 2016

Oil, emulsion, acrylic, and shellac on canvas

Ignis Sacer，280 x 380 x 9 cm，2016

Oil, acrylic, emulsion on canvas

Alkahest，101.9 x 164.8 cm，2011

Oil, emulsion, acrylic, shellac, charcoal, lead object on photograph on cardboard

The Waves of Sea and Love，190 x 380 x 43 cm，2017

Oil, emulsion, acrylic, and lead on canvas

Anselm Kiefer, “Osiris und Isis” (“Osiris and Isis,” 1985–87), oil, acrylic, emulsion, clay, porcelain, lead, copper wire, and printed circuit on canvas (San Francisco Museum of Modern Art, purchase through a gift of Jean Stein by exchange the Mrs. Paul L. Wattis Fund and the Doris and Donald Fisher Fund, © Anselm Kiefer

Anselm Kiefer, “Für Paul Celan: Aschenblume” (“For Paul Celan: Ash Flower,” 2006), oil, acrylic emulsion, shellac, and burned books burned on canvas

Anselm Kiefer, “Die Orden der Nacht” (“The Orders of the Night,” 1996), acrylic, emulsion, and shellac on canvas (Seattle Art Museum, photo © Atelier Anselm Kiefer)

Anselm Kiefer, “Resumptio” (1974), oil, emulsion, and shellac on burlap (private collection, photo © Atelier Anselm Kiefer)

Anselm Kiefer, Auguste Rodin: les cathédrales de France, 2016, photo Georges Ponce

Anselm Kiefer, “Margarethe” (1981) oil, acrylic, emulsion, and straw on canvas (The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art, © Anselm Kiefe)