German painter, printmaker, and sculptor who is considered to be a pioneering Neo-Expressionist (Neo-Expressionism). Baselitz was part of a wave of German painters who in the late 1970s rejected abstraction for highly expressive paintings with recognizable subject matter (see Neo-Expressionism). His trademark work was painted and displayed upside down to emphasize its surface rather than its subject matter.

Baselitz began art studies in 1956 at the Academy of Fine and Applied Art in East Berlin. He was expelled and left East Berlin in 1957 for West Berlin. There he entered the Academy of Fine Arts, completing postgraduate studies in 1962. During this period he also changed his surname to Baselitz. From his youth he was interested in the tradition of German Expressionist painting and its reliance on “primitive” sources such as non-Western art, folk art, children's art, and the art of the insane. Like his predecessors Ernst Ludwig Kirchner (Kirchner, Ernst Ludwig) and Emil Nolde (Nolde, Emil) (both involved in a group known as Die Brücke (Brücke, Die)), Baselitz employed a deliberately crude style of rendering and a heightened palette in order to convey raw emotion. In the mid-1960s Baselitz turned to the subject of heroes, rebels, and shepherds, often fragmenting the figures and continuing to make the thick impasto carry much of his paintings' emotional content. He also often used shocking or disturbing imagery to provoke a response in the viewer. In 1969 he began to paint and display his subjects upside down. Baselitz also created art in other media; his etchings, woodcuts, and wood sculptures are as direct and expressionistically charged as his mature paintings. His first American retrospective was organized in 1995 at the Guggenheim Museum in New York.