Oil with synthetic resin and filler on fiberboard. Signed in the lower left corner. Once more signed on the reverse, as well as dated, titled, and inscribed with the dimensions. 54 x 65 cm.
Also known as “Gilgamesch und Utnapischtim.” [KA].
- A distinctive, mythological-archaic formal language characterized by a striking expressiveness. - Through the use of synthetic resin and filler, Baumeister created an impressive surface effect with a strong tactile presence. - Exhibited in Munich the year it was created and, just one year later, at the Hacker Gallery in New York. - From the peak of his creative period: participated in the Venice Biennale in 1948 and 1952, as well as in the São Paulo Biennial in 1951. - In the same family collection for over 35 years.
We are grateful to Ms. Hadwig Goez of the Baumeister Archive at the Kunstmuseum Stuttgart for her helpful information.
LITERATURE: Peter Beye, Felicitas Baumeister, Willi Baumeister. Catalogue raisonné of paintings, vol. II, Ostfildern 2002, CR no. 1201 (illustrated in b/w). Will Grohmann, Willi Baumeister. Leben und Werk, Cologne 1963, CR no. 867 (illustrated in b/w on p. 302). Will Grohmann, Willi Baumeister, Stuttgart 1952, cat. no. 124 (illustrated in b/w).

Willi Baumeister, Moderne Galerie Otto Stangl, Munich, June 29-August 15, 1951, not in the catalog, according to the exhibition list in the Baumeister Archive. Willi Baumeister, Hacker Gallery, New York, March 31-April 26, 1952, cat. no. 22 (illustrated) Willi Baumeister. Zum 65. Geburtstag von seinen Freunden, Württembergischer Kunstverein, Stuttgart, Jan. 23-Feb. 21, 1954, cat. no. 176 (illustrated in b/w)

Klaus Gebhard Collection, Wuppertal. Private collection, Hesse. Private collection, North Rhine-Westphalia (acquired from the above in 1989). Family-owned ever since

In good condition. In the center of the image, on the left, there is a small, professional retouch, and below it, in the dark gray area, a tiny chip of paint. In the areas where putty has been applied, there is partial fine craquelure. The support was likely mounted by the artist onto a wooden frame using a few small nails, there are partial, all-around tiny flaking or loss of paint, as well as four tiny adhesive residues visible under UV light. This condition report was compiled in daylight with the aid of a UV light source and to the best of our knowledge and belief.