Attributed to George Baseltiz, no coa, private collection, medium: oil measurements: 24"WX30"H Framed, mint condition, Biography: Georg Baselitz is a German painter, sculptor and graphic artist. In the 1960s he became well known for his figurative, expressive paintings. In 1990, at the Nationalgalerie im Alten Museum in Berlin, the first major exhibition of Baselitz's works in East Germany was staged. In 1992, he resigned from the Akademie der Künste in Berlin. In 1993, he designed the set for Harrison Birtwistle's opera Punch and Judy, staged under the direction of Pierre Audi at the Dutch Opera in Amsterdam. He also took part in the International Pavilion at the Venice Biennale with the Male Torso (Männlicher Torso) sculpture, accompanied by oversized drawings. In 1994, Baselitz designed a stamp for the French postal service. He also produced his first ground gold picture that year. In 1995, the first major retrospective of Baselitz's work in the US was staged at the Guggenheim in New York City. This retrospective was also exhibited in Washington, D.C. and Los Angeles. Throughout the 1990s, his work was exhibited frequently throughout Europe. In 2002, a retrospective of Baselitz's work was shown in Art Gallery of Yapi Kredi Bank in Istanbul.During this time, Baselitz lived and worked near Hildesheim (Schloß Derneburg), from 2006 on near Munich, and in Imperia in Italy.His work was exhibited in London, at the Royal Academy of Arts in late 2007, and in the White Cube gallery in 2009.From 21 November 2009, to 14 March 2010, the Museum Frieder Burda and Baden-Baden's Staatliche Kunsthalle exhibited a comprehensive survey of the artist, featuring approximately 140 works. Baselitz. A Retrospective was presented at the two neighbouring museums, with the Museum Frieder Burda displaying 50 years of painting, the Staatliche Kunsthalle 30 years of sculpture.In a 2013 interview, Baselitz was quoted as saying, "women don't paint very well. It's a fact. There are, of course, exceptions." Citing the comparative lack of commercial success of work by women painters in the most expensive markets as proof, he stated, "Women simply don't pass the test. (...) The market test, the value test".