Anselm Kiefer

Galerie Thomas, Munich
Acquired by the present owner from the above in May 2007

This work is in good condition overall. There is evidence of overall wear to the sides and edges of the frame, which has resulted in some minor surface abrasions and some minor oxidation. The plant material is actively chipping and there are some pre-existing losses which has resulted in plant material falling to the bottom of the frame, which is inherent to the medium. The overall cracking to the surface of the background is inherent to the artist's working method. Framed under glass.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
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German born Anselm Kiefer is considered to be one of the most notable and important artists to emerge from post-war Europe. His use of various natural materials including palm, oil, wood, and soil make his work immediately recognizable. Through these various elements and untraditional artistic processes, Kiefer is able to effectively express his vision and meaning, be it historical, mythological, philosophical, literary, or religious.

The Palm (2006) is a part of Kiefer’s monumental series, Palmsonntag, which culminated in a large scale exhibition in 2008. Palmsonntag, or Palm Sunday, refers to the Sunday before Easter and commemorates Jesus’ triumphant return to Jerusalem before his resurrection. As Jesus walked through the gates of Jerusalem, it is said that his disciples laid down palm fronds to pave the way for his glorious return. Although the palm today may be commonly associated with a beachy paradise, historically, it has symbolized triumph and victory because of its immortality; as one palm branch dies, the next grows from it. This symbolism mirrors that of Jesus’ death and resurrection. Kiefer uses the palm frond as the central element of his work to recall this religiously historical event.

The canvas is sized perfectly to frame the contour of the palm, as if a custom box were made for this historical treasure removed from the earth upon which Jesus walked thousands of years ago. The cracked, dried up soil give hints of life in an otherwise gloomy and decrepit setting. It is as if only a few drops of water sprinkled from above would be needed to immediately breathe life back into this scene. However, not all is dead. The abstract silhouettes framing the tree appear ethereal, as if they formed as this piece aged with time. The angelic wings of white dust shrouding the palm branch appear as if they are trying to break through the confinements of the canvas, serving as a constant reminder that even in the face of death, there is still hope of life.

These reccurring themes of life and death consistent with Kiefer’s The Palm are apparent in Joseph Beuys’ 7000 Oaks public work installation. Through the juxtaposition of the grey, wind-swept basalt stone, sturdy and everlasting, standing beside the luscious greens of the mortal tree, Beuys instantly creates a dichotomy that speaks to the role of life and death. Both artists are able to maximize the effectiveness of their respective messages by using natural materials that can speak for themselves.

“A photograph is only the instant the shutter was open, while a painting doesn’t only show a moment; it presents a history. It’s a living thing. It changes, it has depth.” Anselm Kiefer