Gift of Cynthia Hazen Polsky, in memory of her father, Joseph H. Hazen, 2000
Not on view
The title of this work comes from Death Fugue by the Romanian Jewish poet and World War II survivor Paul Celan (1920-1970). Widely read and anthologized in postwar Germany, Death Fugue is set in a concentration camp. Its narrative voice, in the first-person plural, is that of the Jewish inmates, who suffer under the camp's blue-eyed commandant. Singing "your golden hair, Margarete / your ashen hair, Shulamith," the narrators contrast German womanhood, as personified by Margarete, to whom the commandant addresses letters at night, and Jewish womanhood (Shulamith was King Solomon's dark-haired beloved in the Song of Songs). Here, as in most of Kiefer's more than thirty Margarete works, the German heroine is represented by only a symbol of her "golden hair"-sheaves of wheat in the countryside.
Inscription: Inscribed (in gouache): Dein goldenes Haar, Margarete
private collection (1980–83; sold in 1983 to d'Offay); [Anthony d'Offay Gallery, London, 1983–95; sold in 1995 to Polsky]; Cynthia Hazen Polsky, New York (1995–2000; on extended loan to MMA 1995–2000; her gift to MMA)
New York. The Metropolitan Museum of Art. "Anselm Kiefer: Works on Paper in The Metropolitan Museum of Art," December 15, 1998–March 21, 1999, no. 38.
New York. The Metropolitan Museum of Art. "Landscapes by Klee and Kiefer," January 19–September 30, 2001, no catalogue.
New York. The Metropolitan Museum of Art. "Broken Flowers and Grass: Nature and Landscape in the Drawings of Anselm Kiefer," March 24–August 2, 2009, no catalogue.
Duisburg. Museum Küppersmühle für Moderne Kunst. "Joseph Beuys, Anselm Kiefer: Zeichnungen, Gouachen, Bücher," June 29–September 30, 2012, unnumbered cat. (p. 234; as "Dein goldenes Haar").
Nan Rosenthal in "Recent Acquisitions: A Selection 1994–1995." Metropolitan Museum of Art Bulletin 53 (Autumn 1995), p. 68.
Nan Rosenthal. Anselm Kiefer: Works on Paper in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 86–88, 90, 105, 124, no. 38, ill. (color).