Cover image for Anselm Kiefer : works on paper in the Metropolitan Museum of of Art
Anselm Kiefer : works on paper in the Metropolitan Museum of of Art
Rosenthal, Nan.
Personal Author:
Publication Information:
New York : The Museum : Distributed by H.N. Abrams, Inc., [1998]

Physical Description:
135 pages : illustrations (some color) ; 29 cm
General Note:
"This volume has been published in conjunction with the exhibition 'Anselm Kiefer: Works on Paper, 1969-1993, ' held at the Metropolitan Museum of Art from December 15, 1998, through March 21, 1999"--T.p. verso.
Added Author:


Format :


Call Number
Material Type
Home Location
Item Holds
NC251.K44 A4 1998 Adult Non-Fiction Central Closed Stacks-Oversize Non-Circ

On Order



This catalogue of the December 1998 exhibition held at the Metropolitan Museum of Art presents a detailed look at works on paper by Kiefer, the German artist whose work has continually dealt with the Holocaust as well as other elements of German culture and history. Representing a variety of media--watercolors, acrylics, painted-over photographs, and woodcuts--the 54 color reproductions of his works cover the years from 1969 to 1993 and reveal the artist's talent for blending biting commentary and humor. Also contains about 50 bandw illustrations that demonstrate pertinent connections to works by both Kiefer and other artists. Oversize: 10.25x11.25". Annotation copyrighted by Book News, Inc., Portland, OR


Published to accompany an exhibition at the Metropolitan Museum of Art, New York, this volume contains colour reproductions of 54 works on paper by the artist Anselm Kiefer, dating from 1969 to 1993. Representing a wide variety of media, from watercolours to manipulated photographs, they reflect Kiefer's ability to blend biting commentary and humour. The text concentrates on his socio-political references to German culture and history, and includes remarks made by Kiefer in two interviews with the author.


Anselm Kiefer (b. 1945) is among the most highly regarded of contemporary artists. This volume, which accompanies an exhibition at The Metropolitan Museum of Art, New York, reproduces in full color 54 works on paper dating from 1969 to 1993. Representing a wide variety of mediums, from watercolors to manipulated photographs, they brilliantly reflect Kiefer's talent for blending biting commentary and humor.

In her text, Nan Rosenthal concentrates on Kiefer's rich sociopolitical references to German culture and history, providing insights particularly appropriate for American and other non-German readers who may be unfamiliar with the artist's sources. Kiefer's remarks from two unpublished 1997 interviews with the author are of special interest, as Kiefer rarely permits himself to be quoted.

Reviews 1

Choice Review

These two books on Kiefer could not be more different. Rosenthal details the holdings of a particular art institution, explaining Kiefer's influence through examples from within that collection. Saltzman uses Kiefer as an example of a later generation's response to atrocities committed by an earlier one. Whereas Rosenthal employs a traditional art historical approach, including interviews with Kiefer to help understand intention, Saltzman dismisses such techniques as unnecessary in a postmodern climate. Saltzman is content to establish a good story, seeing Kiefer in a certain light, and avoids making definitive statements about his place in the art world or culture generally. Rosenthal, on the other hand, has in mind precisely that kind of placement of Kiefer within the art world. The two books are examples of a modernist and postmodernist critical perspective, focusing on the same subject. Both books are recommended because of this dichotomy. The Rosenthal book, with plentiful color photographs, is by far the better introduction to Kiefer's work, suitable for upper-division undergraduates and up. Saltzman's book should be seen as an advanced, graduate-level work. Both books are well-produced, handsomely designed volumes. S. Skaggs; University of Louisville