Anselm Kiefer Aaron Acryl, Emulsion, Schellack und Photoabrisse, collagiert, auf Photographie. Ca. 64,5 x 84 cm. Unter Glas gerahmt. - Mit Atelier- und leichten Altersspuren. Provenienz Marian Goodman Gallery, New York; James Cohan Gallery, New York; Privatsammlung, Niederlande Literatur Lisa Saltzman, Anselm Kiefer and art after Auschwitz, Cambridge 1999, S.24, Tafel 2 mit Abb. Nan Rosenthal, Anselm Kiefer, Works on paper in The Metropolitan Museum of Art, Ausst.Kat.The Metropolitan Museum of Art, New York 1998, S.94 mit Abb. Die Arbeit „Aaron“ verweist ikonographisch auf die alttestamentarische Erzählung des sogenannten Stabwunders, aus dem zweiten Buch Moses. Die Erzählung besagt, dass Aaron, der Bruder von Moses, am Berg Sinai von Gott als Priester auserwählt wurde, nachdem die Stäbe der Vertreter der zwölf Stämme Israels eine Nacht auf der Bundeslade ausgelegt wurden und Aarons Stab am nächsten Tag als Mandelzweig erblühte. Die Figur des Aarons wird von Anselm Kiefer in mehreren Arbeiten aufgegriffen. Im vorliegenden Werk verzichtet er auf eine figurative Darstellung des Geschehens. „Aaron, their presumptive subject, emerges pictorially only through Kiefer`s use of metonymic processes, namely the synecdochic inclusion of Aaron`s staff. Rendered either in a photographic cutout or a thinly wrought leaden strip, each vaguely anthropomorphic in form, the staff, whose meaning in these pictures depends on the semantic field determined by the title, comes to function as the marker of the biblical iconophile, who is represented but not mimetically figured.” (Lisa Saltzman, Anselm Kiefer and art after Auschwitz, Cambridge 1999, S.24 f.). Anselm Kiefer Aaron Acrylic, emulsion, shellac and torn photographs, collaged, on photograph. Approx. 64.5 x 84 cm. Framed under glass. - Traces of studio and minor traces of age. Provenance Marian Goodman Gallery, New York; James Cohan Gallery, New York; private collection, the Netherlands Literature Lisa Saltzman, Anselm Kiefer and art after Auschwitz, Cambridge 1999, p.24, pl.2 with illus. Nan Rosenthal, Anselm Kiefer, Works on Paper in The Metropolitan Museum of Art, The Metropolitan Museum of Art, New York 1998, p.94 with illus. The work “Aaron” iconographically refers to the Old Testament narrative of the so-called miracle of the rod from the second book of Moses. The narrative states that Aaron, Moses' brother, was chosen to be a priest by God on Mount Sinai after the staffs of the representatives of the twelve tribes of Israel had been laid out one night on the ark of the covenant and Aaron's staff blossomed the next day as an almond branch. Anselm Kiefer takes up the figure of Aaron in several works. In this work he refrains from a figurative representation of events. 'Aaron, their presumptive subject, emerges pictorially only through Kiefer`s use of metonymic processes, namely the synecdochic inclusion of Aaron`s staff. Rendered either in a photographic cut-out or a thinly wrought leaden strip, each vaguely anthropomorphic in form, the staff, whose meaning in these pictures depends on the semantic field determined by the title, comes to function as the marker of the biblical iconophile, who is represented but not mimetically figured.” (Lisa Saltzman, Anselm Kiefer and art after Auschwitz, Cambridge 1999, p.24 f.).