Anselm Kiefer

Private Collection, Europe

Humlebaek, Louisiana Museum for Moden Art, Anselm Kiefer: Paintings 1998-2001, June - September 2001, cat. no. 13, p. 48, illustrated in color

This work is in very good condition. There is evidence of a soft rippling to the top sheet of the work which is inherent to the artist's working method and technique. There is a horizontal crease located 24 in. from the top edge which appears inherent to the support. On the bottom sheet there is evidence of cracking mostly noticeable on the heavier areas of the impasto with relevant minor spot paint losses. The sheets are floating under Plexiglas.
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Lasst 1,000 Blumen Blühen, 2000 is an important work from the series Let 1,000 Flowers Blossom, which Anselm Kiefer began in 1998. This body of works refers to a phrase pronounced by Mao Zedong during a speech in Beijing in 1957. With these words the leader of the Communist party encouraged the Chinese intelligentsia to assume a critical position toward the regime while simultaneously executing those who spoke out against the authorities.

Though referencing Mao, the inspiration of this series was drawn from Kiefers fascination toward the British Rosicrucianist Richard Fludd. In the 16th century, Fludd investigated the relations between the macro and micro cosmos. Kiefer reinterpreted Fludd's ideas while simultaneously admiring the fields of colorful flowers he had planted in the rural surroundings of La Ribotte in the south of France. On a certain level, the multi-colored fields evoked the Cultural Revolution in Kiefer. Thus inspired, the artist questioned himself on the need to respond to the 'view' of millions of victims.

In the present work Kiefer displaces the composition on two different panels separating the image of the blooming flowers from the photo-reproduction of the statue of Mao. On the surface of the photographic paper Kiefer applies sand and ashes. The use of earthy materials embodies the artist's paradoxical 'need of breaking the picture.' In the lower panel Kiefer's rich brushstrokes colorfully depict the beauty of the blooming flower fields. This juxtaposition illuminates Kiefer's ability to compare opposing scenes that force observers to confront deeply profound questions. Thus, Kiefer's signature poetry becomes manifestly evident within the composition.