G eorg Baselitz’s Dreieck zwischen Arm und Rumpf (Triangle between Arm and Torso) is a powerful example of the artist’s iconic inversion technique and his lifelong exploration of the human form. Painted in 1984, this work exemplifies Baselitz’s ability to challenge traditional perspectives and redefine the boundaries of figurative painting. By turning his subjects upside down, Baselitz disrupts conventional representation, forcing viewers to engage with the painting on a purely formal and emotional level, rather than relying on narrative or literal interpretation.

The painting’s title, Triangle between Arm and Torso, hints at Baselitz’s focus on geometric abstraction within the human body. The composition is dominated by bold, expressive brushstrokes and a dynamic interplay of shapes, with the titular triangle emerging as a central motif. This geometric element not only anchors the composition but also reflects Baselitz’s interest in the tension between abstraction and figuration. The inverted figure, rendered in Baselitz’s signature style, becomes a vehicle for exploring the relationship between form, space, and identity.

Baselitz’s use of colour in this work is equally striking. The earthy tones and muted palette evoke a sense of rawness and primal energy, while the contrasting highlights and shadows add depth and movement to the composition. This interplay of light and dark enhances the sculptural quality of the figure, emphasizing the physicality of the human form. The painting’s textured surface, achieved through Baselitz’s vigorous application of paint, further underscores the tactile and visceral nature of his work.

As a leading figure in post-war German art, Baselitz has consistently pushed the boundaries of artistic expression. His inverted figures, first introduced in 1969, have become a defining feature of his oeuvre, symbolizing a break from tradition and a reimagining of artistic possibilities. Dreieck zwischen Arm und Rumpf is a testament to Baselitz’s innovative spirit and his ability to transform the human figure into a site of profound exploration.

Adding to its significance, this work boasts a distinguished provenance, having been part of two renowned collections: the Saatchi Collection in London and the Galerie Beyeler in Basel. Such esteemed ownership underscores the painting’s importance within Baselitz’s body of work and its enduring appeal to major collectors and institutions.

This painting not only reflects Baselitz’s mastery of form and technique but also his deep engagement with themes of identity, memory, and the human condition. As a pivotal work from the 1980s, it holds a significant place in Baselitz’s career and continues to captivate audiences with its boldness and emotional intensity.

格奧爾格・巴塞利茲的《手臂和軀幹之間的三角形》是藝術家標誌性的倒置技法和對人體形態終身探索的傑出範例。這幅創作於1984年的作品，展現了巴塞利茲挑戰傳統視角並重新定義具象繪畫的能力。通過將描繪的主體倒置，巴塞利茲打破了傳統的表現方式，迫使觀眾從純粹的形式和情感層面來欣賞畫作，而非依賴敘事或字面解讀。

畫作的標題《手臂和軀幹之間的三角形》暗示了巴塞利茲對人體抽象幾何的關注。畫面以大膽、富有表現力的筆觸和極富動感的形狀為主導，而標題中的三角形則成為構圖的核心。這一幾何元素不僅穩定了整個畫面佈局，還反映了巴塞利茲對抽象與具象之間微妙關係的探索。倒置的人物形象以作為巴塞利茲的標誌性風格，成為其對形體、空間與個人身份的載體。

巴塞利茲在這幅作品中的用色十分大膽。柔和且簡潔的色調傳達出一種拙樸而原始的感覺，而對比鮮明的光影則為構圖增添了深度與動感。這種明暗的互動增強了人物的立體感，突出了其實體性。畫面通過巴塞利茲有力的筆觸呈現，進一步強調了其作品的觸覺與質感。

作為戰後德國藝術的領軍人物，巴塞利茲一直致力推動藝術表現的界限。他於1969年開始創作的倒置人物形象，已成為其藝術創作中的標誌性特徵，象徵著對傳統的突破，以及對藝術創作可能性的再出發。《手臂和軀幹之間的三角形》正是巴塞利茲創新精神的見證，展示了他將人體轉化為藝術探索的深厚功力。

值得一提的是，這幅作品擁有顯赫的來源，曾先後存於倫敦的薩奇收藏和巴塞爾的貝耶勒畫廊。如此卓越的收藏歷史，進一步彰顯了這幅畫作在巴塞利茲藝術生涯中的重要地位，以及其對收藏家和機構的吸引力。

這幅畫作不僅體現了巴塞利茲對形式和技法的精湛掌握，也反映了他對身份、記憶和人類境況的深刻思考。作為1980年代的重要作品，它在巴塞利茲的職業生涯中佔據著重要地位。