(Bleckede/Elbe 1945–2007 Düsseldorf)
‘Frühling der Theorie - Sommer der Theorie’, 1989, signed, dated, titled Immendorff 89, oil on canvas, 80 x 100 cm, on stretcher

The work will be included in vol. 2 of the forthcoming Catalogue Raisonné, published by Siegfried Gohr.

Provenance:
Galerie Michael Werner, Cologne (gallery label on the stretcher)

„Although his paintings have bravura qualities, they are still primarily the products of a rough-and-tumble, make-it-up-as-you-go-along efficiency for which the main criterion is the vividness of the resulting conflict of images and ideas. In that regard, Immendorff may be excused from the charge of bringing back the fetishized values of traditional easel painting. Rather, that counts are the dialogues he has been able to arrange between himself and his contemporaries and precursors as well as the arguments among his plural selves that he has stepped up to the floor lights to rehearse and perform. Finally in his capacity as ‘painter’ (…)
Immmendorff has persisted in teaching the townsfolk of Germany and beyond that the slim chance they having of saving themselves from dull surrender to what is expected of them and what they are told to expect (…) is to dream broken dreams in the full knowledge that they are broken and to picture their lost illusions in all their riotous detail of which their imaginations are still capable. It is not a pretty picture, and not a subtle or modest one, but it is flush with vitality“.
Robert Storr, in: Jörg Immendorff, Male Lago,
Exhibition catalogue Neue Nationalgalerie
Berlin 2006, p. 63