"The painting partisan"—this is the term Cornelius Tittel recently used to describe Georg Baselitz in a review (November 3, 2021) in Die Welt in connection with the major retrospective that has just opened at the Centre Pompidou. For Heiner Müller in a conversation (1991) with Alexander Kluge, "the partisan, in a modern, a technocratically defined structure, was like a dog on the highway." And it is within this outsider status that Tittel sees the artist Georg Baselitz mature over several decades into a monolith whom "the Académie des Beaux-Arts has now accepted as the sole German among its members. The sword presented to him at the formal ceremony was meant to symbolize his immortality. It was actually no longer needed though." We are pleased to announce, together with the editors Rainer Michael Mason and Detelv Gretenkort, that volume IV of the
Graphic Works (1989–1992)
will be published in the spring of 2022; it contains works no. 718–1010. Volume III had already established that Georg Baselitz’s graphic oeuvre stands on an equal footing with his paintings and sculptural work.