Georg Baselitz: The Heroes Review – Astonishing Paintings 2026

Georg Baselitz's The Heroes exhibition in London is a savage, merciless vision of modern history, featuring astonishing paintings that take a brutal swipe at the past. When the German painter died this year, a chunk of Europe's rapidly diminishing historical memory went with him. Baselitz was born in 1938, experienced Hitler's Germany and the Second World War as a young child, then found himself growing up in communist East Germany before escaping to the west and becoming an artist. His acidic, honest perceptions of the history he'd lived through will no longer be those of the living person I was lucky enough to encounter. But he has left us a gift: an exhibition in London he helped plan of his most astonishing history paintings, The Heroes.

The Heroes: A Savage Swipe at History

It's a savage, merciless vision of modern history with feelings of horror, disgust and irreparable guilt hanging heavy in the poisoned air. But there's a terrible joy too, the thrill of speaking the truth. You sense the liberation Baselitz must have felt when he set brush to canvas to start these paintings in 1965. Comparing the explosive rage and nihilism of his art to punk may be inadequate but the title of this series of colossal imaginary portraits is so scathingly ironic it's like being spat at.

Mit Rote Fahne – With the Red Banner

Mit Rote Fahne – or With the Red Banner – depicts a massive, square-shouldered yet exhausted soldier holding a half-lowered flag that is a smear of red and black. A banner of blood, the redness congeals to form black scabs that suggest the shadow of the swastika. All around the soldier is a wasteland of broken earth and shattered trees, a landscape that mirrors the moral desolation of the figure. The painting is a powerful indictment of the Nazi era and its aftermath, capturing the physical and psychological ruin of a generation.

The Hero as Anti-Hero

Baselitz's heroes are not triumphant warriors but broken, disillusioned men. They stand as anti-heroes, embodying the failure of ideology and the trauma of war. In The Great Friends, two figures cling to each other, their bodies distorted and fragmented, as if they are the last survivors of a catastrophe. The brushwork is raw and expressive, the colors acidic and unsettling. These are not portraits of individuals but of a collective psyche, scarred by history.

Baselitz's Artistic Legacy

Baselitz's work has always been confrontational. He is known for his inverted paintings, where he turns the subject upside down to emphasize the materiality of paint over representation. In The Heroes, however, the figures are upright, staring directly at the viewer with accusatory eyes. This directness makes the series even more powerful. The exhibition, which Baselitz helped plan before his death, is a testament to his enduring vision and his refusal to look away from the darkest chapters of history.

Comparing Baselitz's Heroes to Other Post-War Art

To understand the significance of The Heroes, it's helpful to compare it with other post-war artistic responses to trauma. The table below highlights key differences and similarities.

Key Takeaways from The Heroes Exhibition

• Historical memory: Baselitz's work preserves the memory of a traumatic era, refusing to let it fade.
• Artistic courage: The paintings are a fearless confrontation with guilt and horror.
• Emotional complexity: They evoke both disgust and a strange joy in truth-telling.
• Legacy: The exhibition cements Baselitz's place as one of the most important post-war artists.
• Visual power: The colossal scale and raw brushwork make a lasting impact.

FAQ

In conclusion, Georg Baselitz's The Heroes is a must-see exhibition for anyone interested in art that confronts history head-on. It is a savage swipe at the past that resonates powerfully today.