Neo Rauch, Die Fuge, 2007, oil on canvas, 300 x 420 cm, Hamburger Kunsthalle, © VG Bild-Kunst, Bonn 2011 / Courtesy Galerie EIGEN + ART Leipzig/Berlin, and David Zwirner, New York, Photo: Uwe Walter, Berlin.

Neo Rauch, Interview, 2006, oil on canvas, 210 x 300 cm, Museum Frieder Burda, Baden-Baden, © VG Bild-Kunst, Bonn 2011 / Courtesy Galerie EIGEN + ART Leipzig/Berlin, and David Zwirner, New York, Photo: Uwe Walter, Berlin.

Neo Rauch, Unter Feuer, 2010, oil an canvas, 250 x 300 cm, Museum der bildenden Künste Leipzig, © VG Bild-Kunst, Bonn 2011 / Courtesy Galerie EIGEN + ART Leipzig/Berlin, and David Zwirner, New York, Photo: Uwe Walter, Berlin.

Neo Rauch, Alte Verbindungen, 2008, oil on canvas, 250 x 300 cm, Private Collection, © VG Bild-Kunst, Bonn 2011 / Courtesy Galerie EIGEN + ART Leipzig/Berlin, and David Zwirner, New York, Photo: Uwe Walter, Berlin.

Neo Rauch, Saum, 1993, oil on paper, ø 340 cm, 4 parts, Private Collection, © VG Bild-Kunst, Bonn 2011 / Courtesy Galerie EIGEN + ART Leipzig/Berlin and David Zwirner, New York, Photo: Uwe Walter, Berlin.

Neo Rauch. Nachhut, 2011, bronze, black patinated, 193 x 95 x 175 cm, Edition: 3, © VG Bild-Kunst, Bonn 2011 / Courtesy Galerie EIGEN + ART Leipzig/Berlin, and David Zwirner, New York, Photo: Uwe Walter, Berlin.

Neo Rauch, Sonntag, 1997, oil on canvas, 223 x 194 cm, Kunst in der Sachsenbank / Sammlung Landesbank Baden-Württemberg, © VG Bild-Kunst, Bonn 2011 / Courtesy Galerie EIGEN + ART Leipzig/Berlin, and David Zwirner, New York, Photo: Uwe Walter, Berlin.

Museum Frieder Burda
Lichtentaler Allee 8 b
(00)49-(0)7221-39898-0
Baden Baden
Neo Rauch
May 28-September 18, 2011

Around 40 main works by the artist from Leipzig from the past 20 years will be shown, many publicly exhibited for the first time. They reflect the abundance of imagination and topics addressed by the artist.

There is a boundless force in the picturesque world of Neo Rauch. His subjects seem a mixture of realism and surrealism, influenced by pop-art and comics. Inhabited by strange figures, partly eccentrically equipped with costumes and props, great scenarios are created, that touch all senses. The world is turned into a ridiculous theater that knows no linear timeline. If you look more closely you might even discover a story behind the picture.

The painter from Leipzig was immediately taken with the idea of presenting his works at the museum planned by the architect Richard Meier. On his first visit, Neo Rauch said: “The building convinced me straight away, as architectural and sculptural setting in the existing context. This is not natural because I usually set high benchmarks as to contemporary architecture. Concerning the indoor space concept, I can only say that I couldn’t avoid imagining my pictures there. In my mind, I immediately started placing the pictures inside the building."

Four significant large format paintings as well as ten drawings by Neo Rauch are part of the collection Frieder Burda. Frieder Burda says: “To me, Neo Rauch is a very important artist, who follows his path with unmistakable paintings. He certainly is one of the most important contemporary painters. When I visited Rauch in his studio in Leipzig with regard to this exhibition, I saw a large almost finished oil painting titled: Die Ausschüttung (disbursement). I was fascinated by the myth, the mystery, by the colors, by the charisma of this painting“.

Neo Rauch, born in Leipzig in 1960, is one of the most influential international artists of his generation. He studied at Leipzig University of Graphics and Book art with Arno Rink, then became an assistant and from 2005 to 2009 professor and since 2009 he has been honorary professor there.

His art can be seen in the tradition of old masters. As modern points of reference, the artist himself names Beckmann, Bacon, Beuys, Baselitz and his tutors from Leipzig. In 1997 he first stepped into the public with a large exhibition at the Museum of Fine Arts in Leipzig. In 2006, the Art Museum in Wolfsburg dedicated a retrospective to him. At the Metropolitan Museum of Art in New York, the exhibition •para• followed in 2007. Last year, Munich (Pinakothek Museums) as well as Leipzig (Museum of Fine Arts) honored the painter with a large double exhibition named •Begleiter (“companions”)•.

Main works in Baden-Baden From 1993 on, Neo Rauch developed his own unmistakable style. At that time, color is nearly totally banned from his paintings, figurative depiction is already present, though. As time goes by, color flows into his paintings. The exhibition at the Museum Frieder Burda show works created between 1992 and 2011.

Works on paper will be shown that seem like paintings, among them Saum (seam) and Hotel. Main works from the past 20 years will be exhibited, works that led to significant decisions at important crossroads in life, for example the painting in light yellow and dull gray named Mittag (noon) from 1997. A new color palette manifests itself: faded and dull at first sight, but yet powerful and bright. The subtle play between picture space, perspective and lines as well as the somnambulistic atmosphere is typical of later paintings by Neo Rauch.

In this same year, the masterpiece Der Sucher (the searcher) was created. It is also part of the exhibition. When Rauch’s first paintings became successful, he painted an empty easel and a painter moving away from it, searching the environment with a metal detector. At that very moment a yellow meteorite hits the scene. The painter is in the force field between duty, work, consistency and the carefully cherished flame of inspiration that creates the grand.

A turning point which is seldom shown is the painting Sturmnacht (gale night) from 2000. With its size of two by three meters it is one of the large scenarios that Rauch skillfully captivates on canvas. Here, strong and deep colors like red, blue, yellow, green and black are dominant. Exceptional situations are at the center of the pictures.

Personal feelings are always involved, though Rauch virtuously transforms them into general statements. For example Das Interview (2006): after his success and the media hipe, Rauch deals with his experiences in a mighty and evocative painting in which red is predominant and the interviewees need to be resuscitated. Both conversation parties apathetically hang in their armchairs. Also Der Rückzug (the withdrawal, 2006) shows personal elements, being set in the landscape of potash works that Rauch knows from his childhood.

For the first time, a bronze sculpture by Neo Rauch will be shown in Baden-Baden.

Werner Spies is the curator of the exhibition. Art historian Werner Spies, who was born in Tuebingen in 1937 and has lived in Paris since 1960, is curating the exhibition. Werner Spies says, “Where can you find works that present such an amazing variety of topics and such an alarming mixture of human bodies and accessories in a boiling atmosphere? If you bother to enter this world, behind the fantastic encoding you can discover quite some relevance to the present; not only volcanic eruptions, hysterical correlations between things and society, a corroding world drenched in sulfurous twilight, but also children, equipped with explosive belts around their waists , sent out to hunt by fanatic cowards. It is great to finally have an artist again who raises questions and in the end overwhelms with his furious painting technique“.

The loans come from German and European public and private collections, such as the collection Deutsche Bank, the museum of modern Art Leipzig, the Pinakothek of the Moderne in Munich, the Fondation Beyeler in Riehen.

The Hatje Cantz Verlag editorial is publishing a catalog about this exhibition with numerous art historical articles, amongst others by Werner Spies, Eduard Beaucamp, Andreas Platthaus and Durs Gruenbein. The catalog will comprise around 184 pages and include unpublished studio photographs by Timm Rautert.

Neo Rauch, Wahl, 1998, oil on canvas, 300 x 200 cm, Bayerische Staatsgemälde-sammlungen – Pinakothek der Moderne. Erworben von PIN. Freunde der Pinakothek der Moderne für die Sammlung Moderne Kunst © VG Bild-Kunst, Bonn 2011 / Courtesy Galerie EIGEN + ART Leipzig/Berlin and David Zwirner, New York, Photo: Uwe Walter, Berlin.

Neo Rauch, Ausflug, 1998, oil on canvas, 70 x 100 cm, Private Collection, © VG Bild-Kunst, Bonn 2011 / Courtesy Galerie EIGEN + ART Leipzig/Berlin and David Zwirner, New York, Photo: Uwe Walter, Berlin.

Neo Rauch, Ausschüttung, 2009, oil on canvas, 210 x 300 cm, useum Frieder Burda, Baden-Baden, © VG Bild-Kunst, Bonn 2011 / Courtesy Galerie EIGEN + ART Leipzig/Berlin, and David Zwirner, New York, Photo: Uwe Walter, Berlin.

Neo Rauch, Haus I, 1995, oil on paper on canvas, 125 x 162 cm.

Neo Rauch, Das Blaue, Photo: Uwe Walter. Courtesy Galerie EIGEN + ART Leipzig/Berlin & David Zwirner, New York.

Neo Rauch, Kalimuna, 2010, oil on canvas, 300 x 500 cm.

Neo Rauch, Die Aufnahme, 2008, oil on canvas, 300 x 250 cm.

Neo Rauch, Halt, 2005, oil on canvas, 50 x 40 cm.

Neo Rauch, Grund, 1993, oil on canvas, 250 x 190 cm.

Neo Rauch, Der Schütter, 2009, oil on canvas, 50 x 35 cm.

Zacheta Narodowa Galeria Sztuki
pl. Malachowskiego 3
+ 22 / 556 96 00
Warsaw
Neo Rauch. Begleiter, The Myth of Realism
March 12-May 15, 2011

The Neo Rauch exhibition in the Zacheta National Gallery of Art is the first full overview of the painting of an artist who is an outstanding phenomenon of the German and European scene. This show is one of few presentations of German art in Poland over recent years.

To mark the occasion of Neo Rauch’s 50th birthday, two simultaneous exhibitions dedicated to his work were staged in April 2010 in Museum der Bildende Künste, Lepizig, and in the Pinakothek der Moderne, Münich. It was in reference to these that Zacheta National Gallery of Art in Warsaw scheduled the retrospective of the painter’s work. Rauch’s paintings have not, until now, been presented in Poland so thoroughly. The exhibition eincludes several dozen works made from 1993 to today.

Rauch’s paintings, principally maintained within a bright colour-scheme, present most often figurative scenes playing themselves out on several superimposed surfaces. Two traditions in German painting, expressionism and symbolism, are evident In his painting. Neo Rauch’s exceptional position on the art scene is due to his drawing on the specificity of German realism; he always succeeds in discovering in European mythology the image of an individual and developing it in diverse ways. He succeeds in connecting concrete contemporary issues with those of fundamental human conditions.

The exhibition is supported by the Cultural Foundation of Saxony, the Foundation for Polish-German cooperation, the Ministry of Foreign Affairs of the Federal Republic of Germany and the additional funds of the Polish Ministry of Culture and National Heritage.

The paintings of Neo Rauch (born 18 April 1960, in Leipzig, East Germany) mine the intersection of his personal history with the politics of industrial alienation. His work reflects the influence of socialist realism, and owes a debt to Surrealists Giorgio de Chirico and René Magritte, although Rauch hesitates to align himself with surrealism. He studied at the Hochschule für Grafik und Buchkunst in Leipzig, and he lives in Markkleeberg near Leipzig, Germany and works as the principal artist of the New Leipzig School. The artist is represented by David Zwirner, New York.

Rauch's paintings suggest a narrative intent but, as art historian Charlotte Mullins explains, closer scrutiny immediately presents the viewer with enigmas: "Architectural elements peter out; men in uniform from throughout history intimidate men and women from other centuries; great struggles occur but their reason is never apparent; styles change at a whim."

Rauch's parents died in a train accident when he was four weeks old. He grew up with his grandparents in Aschersleben and passed his exam at Thomas-Müntzer-Oberschule (now Gymnasium Stephaneum). He studied painting at Hochschule für Grafik und Buchkunst Leipzig (Leipzig Academy of Visual Arts). He then was Masterstudent with Professor Arno Rink (1981-1986) and with Professor Bernhard Heisig (1986-1990). After the fall of the GDR Rauch worked from 1993 to 1998 as assistant to Rink and Sighard Gille at Leipziger Akademie.

From August 2005 until February 2009, he was Professor at Leipziger Hochschule für Grafik und Buchkunst. Together with Timm Rautert he was curator for the exhibit Man muss sich beeilen, wenn man noch etwas sehen will ... (One has to hurry, if one still wants to see something ...) at Gut Selikum in Neuss.

Rauch works with his spouse and artist Rosa Loy in a former cotton-mill, Leipziger Baumwollspinnerei, about which he says: "It is the location of concentration and inspiration. Here the best ideas come to me."

In painting … "Characteristic, suggestion and eternity" are important marks of quality. I view the process of painting as an extraordinarily natural form of discovering the world, almost natural as breathing. Outwardly it is almost entirely without intention. It is predominantly limited to the process of a concentrated flow. I am deliberately neglecting to contemplate all of the catalytic influences that would have the power to undermine the innocence of this approach because I would like to express a degree of clarity in these lines by way of example. I view myself as a kind of peristaltic filtration system in the river of time … "

— Neo Rauch

Rauch is considered part of the New Leipzig School and his works are characterized by a style that depends on the Social Realism of Communism. Especially American critics prefer to recognize in his contemporary style a post Communist Surrealism. But more than anyone Rauch is recognized as an East-West painter. He merges modern myths of the Warsaw Pact and the Western world. His figures are portrayed in a landscape in which an American Comic-Aestheticism meets the Social Realism of Communism. In the art publication Texte zur Kunst (Texts about Art, number 55) he was defined as an example for a new German neo-conservatism.

One of his promoters, Roberta Smith journalist of the New York Times, caused great enthusiasm in the US for Rauch's works with an article about the "painter, who came from the cold." Rauch's works are in Museum of Modern Art in New York City and have been shown in many solo exhibitions, including the Albertina in Vienna.

Rauch won the Vincent Award in 2002. His work was featured at the 2005 Carnegie International in Pittsburgh Pennsylvania, and he had his first solo North American museum exhibition at Saint Louis Art Museum in St. Louis, Missouri in 2003-2004. His first Canadian exhibit was at Musée d'art contemporain de Montréal in 2006.

In 2007 Rauch painted a series of works especially for a solo exhibition in the mezzanine of the modern art wing at the Metropolitan Museum in New York City. This special exhibition was called Para. Rauch explains that he enjoys the associations the word "para" evokes in his own mind, and says that his works at "Para" have no particular intention, but that they could signify anything to anyone.

"When I first agreed to do the Met exhibition, I thought about a way of working that would be about the nature of a museum. But straight away I realized that I was much more interested in those 'visions from the Witches Circle' in my studio than I was in coming up with things in a purely thematic way. Calling them 'visions' reflects my personality—they precede inspiration and spring from the moment when internal images appear at the prompting of intellectual decisions. I have no choice but to accept everything that I discover in this way."

— Neo Rauch

Curator of the exhibition is Joanna Kiliszek.

The exhibition is under the patronage of Prof. W?adys?aw Bartoszewski, the Minister for International Dialogue of the Polish Prime Minister’s Office and the German Ambassador in Poland, Mr. Rüdigera Freiherr v. Fritscha.

The exhibition is accompanied by a richly illustrated Polish-English catalogue with esays by the curator and Mathias Flügge — a well-known German art-critic specialized in the Middle-Eastern Europe.

Neo Rauch, Rauner, 2009, oil on canvas, 160 x 120 cm.

Neo Rauch, Goldgrube, 2007, oil on canvas, 80 x 160 cm.

Neo Rauch, Dörfler, 2009, oil on canvas, 35 x 50 cm.

Neo Rauch, Seewind, 2009, oil on canvas, 250 x 300 cm.

Neo Rauch, Revo, 2010, Oil on canvas, 300 x 500 cm, Sammlung Essl Private Collection, Klosterneuburg/Wien, Photo: Uwe Walter, Courtesy Galerie Eigen + Art Berlin and David Zwirner, New York © VG Bild-Kunst, Bonn 2010.

Neo Rauch, Die Vorführung, 2006, oil on canvas, 300 x 420 cm, Rubell Family Collection, Miami, Photo: Uwe Walter, Courtesy Galerie Eigen + Art Berlin and David Zwirner, New York © VG Bild-Kunst, Bonn 2010.

Neo Rauch, Das Blaue, 2006, Oil on canvas, 300 x 400 cm, Private Collection, Photo: Uwe Walter, Courtesy Galerie Eigen + Art Berlin and David Zwirner, New York © VG Bild-Kunst, Bonn 2010.

Neo Rauch, Glück, 2006, oil canvas,40 x 50 cm, Photo: Uwe Walter, Courtesy Galerie Eigen + Art Berlin and David Zwirner, New York © VG Bild-Kunst, Bonn 2010.

Neo Rauch, Übertage, 2010, oil on canvas, 300 x 250 cm, private collection, Photo: Uwe Walter, Courtesy Galerie Eigen + Art Berlin and David Zwirner, New York © VG Bild-Kunst, Bonn 2010.

Pinakothek der Moderne
Barer Strasse 29
+49 89 23805-0
Munich
Neo Rauch – Begleiter
April 20-August 15, 2010

Neo Rauch’s painting focuses on social issues and the psychic state of our modern culture that finds expression in the most varied media and — more than ever before — is defined by these. Rauch’s work mirrors the early 21st century as a period of enlightenment and disenlightenment in equal measure, as an era of global revelation and concealment, of intentional disinformation and unconcealed lying. Old and new pictorial motifs become intermingled, myths rewritten and paraphrased, alternative identities created, images manipulated and unmasked, celebrated and damned.

Neo Rauch, born in 1960 in Leipzig, is the most exceptional and intensely discussed international German artist of his generation. The Pinakothek der Moderne in Munich and the Museum der bildenden Künste in Leipzig are staging a comprehensive exhibition of his œuvre at the two venues at the same time.

Some 60 paintings are being shown in both Leipzig and Munich. Working closely with Neo Rauch himself, the works selected have been taken from all phases of the artist’s creative development that began 20 years ago. A conscious decision has been made to avoid a strict chronological presentation of the works. Instead, they are grouped according to climactic aspects that make frequently repeated themes and motifs that much clearer. Many of the mostly large-format paintings have never been exhibited in Europe before. The majority are from private collections and are being shown to the general public for the first time.

Neo Rauch’s works are an impressive reflection of the specific mood of our times. His pictures are marked by their intense drama and profound sense of loneliness, their surrealism and mystery. His unmistakable painterly style picks up on the art-historical tradition of major artists such as Titian, Tintoretto and El Greco, who are represented in the Alte Pinakothek by works of exceptional importance. The artist himself has cited Beckmann, Bacon, Beuys and Baselitz as modern points of reference, whose works are also to be found in the vicinity.

Stylistic features in the works — graphic elements, template-like outlines and sometimes the picture sheet impression created — condense into a contextual statement. Awkward correlations are forged by the collage-like combination of individual motifs, with spaces and objects as well as costumes, postures and rituals of the protagonists, who seem to be mere cut-outs, evoking their own meanings. As a result, Rauch’s pictures deny any narrative illusionism and underline their fundamental model-like character. The world appears as a stage.

Seemingly rooted to the past but actually timeless when observed more closely, a form of social criticism can be found in Neo Rauch’s painting which appears that much more convincing when separated from any alleged historical basis. With an unfamiliar vibrancy and what would appear to be hackneyed material and an unusable vocabulary, the pictures enable an active examination of thought and behavioural processes that have long become too rigid. They challenge the critical questioning of ideologically biased pictorial formulae and advocate an aesthetic freedom void of prejudice.

The exhibition is accompanied by a comprehensive illustrated catalogue. It includes an essay by Uwe Tellkamp written especially for this publication as well as numerous in-depth descriptions of the works by art historians, critics and befriended artists, including Michaël Borremans, Jonathan Meese and Luc Tuymans. (Museum edition € 38 / trade edition € 49.80, ISBN 978-3-7757-2520-0, 340 pages).

Neo Rauch, Quecksilber, 2003, oil on canvas, 50 x 40 cm, Private Collection, Photo: Uwe Walter, Courtesy Galerie Eigen + Art Berlin and David Zwirner, New York © VG Bild-Kunst, Bonn 2010.

Neo Rauch, Wahl, 1998, 300 x 200 cm, Acquired by PIN., 2003, Photo: Uwe Walter, Courtesy Galerie Eigen + Art Berlin and David Zwirner, New York © VG Bild-Kunst, Bonn 2010.

Neo Rauch, Kalimuna, 2010, oil on canvas, 300 x 500 cm, Sammlung Essl Private Collection, Klosterneuburg/Wien, Photo: Uwe Walter, Courtesy Galerie Eigen + Art Berlin and David Zwirner, New York © VG Bild-Kunst, Bonn 2010.

Neo Rauch (German, born 1960), Vorort (Suburb), 2007, Oil on canvas; 59-1/8 x 98-3/8", Courtesy Galerie EIGEN + ART Leipzig/Berlin & David Zwirner, New York, © 2007 Neo Rauch/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Photo: Uwe Walter.

Neo Rauch, Paranoia, 2007, Oil on canvas, 19-¾ x 59-1/8" Courtesy Galerie EIGEN + ART Leipzig/Berlin & David Zwirner, New York, © 2007 Neo Rauch / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Photograph Uwe Walter.

Neo Rauch, Para, 2007, Oil on canvas, 59-1/8 x 157-½", Courtesy Galerie EIGEN + ART Leipzig/Berlin & David Zwirner, New York, © 2007 Neo Rauch / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Photograph Uwe Walter.

Neo Rauch, Jagdzimmer [Hunter’s room], 2007, Oil on canvas, 43 ¼ x 63", Courtesy Galerie EIGEN + ART Leipzig/Berlin & David Zwirner, New York, © 2007 Neo Rauch / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Photograph Uwe Walter.

Neo Rauch, Die Fuge [The Fugue/The Gap], 2007, Oil on canvas, 118-1/8 x 165-3/8", Courtesy Galerie EIGEN + ART Leipzig/Berlin & David Zwirner, New York, © 2007 Neo Rauch / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Photograph Uwe Walter.

The Metropolitan
Museum of Art
1000 Fifth Avenue
at 82nd Street
212-535-7710
New York
The Gioconda
and Joseph King Gallery
Lila Acheson Wallace Wing
Neo Rauch at the Met: para
May 22-September 23, 2007

Shaped by the experience of growing up in East Germany, Rauch’s paintings teeter between Surrealism and popular imagery, defying easy interpretation. Viewers are drawn into scenes replete with strange beings and ambiguous landscapes. Full of activity yet mysteriously static in feeling, Rauch’s paintings are fantasy painted as fact, and many of his large-format works are populated by figures that are connected spatially, yet remain alienated and unaware of each other. With a distinctive palette of bright acidic colors contrasting with deep shadows, the artist’s paintings conjure up an atmosphere of confused nostalgia and failed utopias.

Neo Rauch at the Met: para presents 11 new paintings made specifically for this exhibition by Neo Rauch (b. 1960, Leipzig, Germany), one of the most widely acclaimed painters of his generation.

Rauch has said, “For me, painting means the continuation of a dream with other means.” The artist is inspired by misplaced memories and momentary perceptions that are lost before they can be named. In this vein, Rauch has titled his exhibition at the Met para. Although there are many familiar elements in the parallel world of Rauch’s paintings, the situations depicted are bizarre and the normal is mixed freely with the abnormal.

Trained at the Hochschule für Grafik und Buchkunst in Leipzig, Rauch continues to live and work in the city of his birth, and has inspired a younger generation of painters in Leipzig’s thriving artistic community. Rauch’s work has been featured in solo exhibitions at Kunstmuseum Wolfsburg, Germany (2006); Museé Le d’art contemporain de Montreal, Canada (2006); Albertina, Vienna, Austria (2004); Saint Louis Art Museum (2003); and Deutsche Guggenheim, Berlin, Germany (2001), among other museums.

On the occasion of the exhibition, DuMont publishers (Cologne, Germany) will release a related publication that will include 12 color illustrations and an essay by Werner Spies.

Neo Rauch (German, born 1960), Warten auf die Barbaren (Waiting for the Barbarians), 2007, Oil on canvas; 59-1/8 x 157-1/2", Courtesy Galerie EIGEN + ART, Leipzig/Berlin & David Zwirner, New York, © 2007 Neo Rauch/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Photo: Uwe Walter.

Neo Rauch (German, born 1960), Der nächste Zug (The Next Move/The Next Draw), 2007, Oil on canvas; 59-1/8 x 78-3/4", Courtesy Galerie EIGEN + ART Leipzig/Berlin & David Zwirner, New York, © 2007 Neo Rauch/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Photo: Uwe Walter.