The series of dog paintings that Georg Baselitz painted in the winter and spring of 1999/2000 is fundamentally different. The reduction of the palette to black and white, the brush stroke that seems more drawn rather than painted, the strictly symmetrical composition, the stereotypical representation of always the same dog, standing on its head, as a motionless and expressionless frontal bust, and the integration of writing, lend the series an emblematic and pointedly distanced character.