mud and clay. In 2007, he became the first artist to be commissioned to install a permanent work at the Louvre, Paris, since Georges Braque some 50 years earlier. The same year, he inaugurated the Monumenta exhibitions series at the Grand Palais in Paris, with works paying special tribute to the poets Paul Celan and Ingeborg Bachmann. In 2009 Kiefer mounted two exhibitions at the White Cube gallery in London. A series of forest diptychs and triptychs enclosed in glass vitrines, many filled with dense Moroccan thorns, was titled Karfunkelfee, a term from German Romanticism stemming from a poem by the post-war Austrian writer Ingeborg Bachmann. In The Fertile Crescent, Kiefer presented a group of epic paintings inspired by a trip to India fifteen years earlier where he first encountered rural brick factories. Over the past decade, the photographs that Kiefer took in India "reverberated" in his mind to suggest a vast array of cultural and historical references, reaching from the first human civilization of Mesopotamia to the ruins of Germany in the aftermath of the Second World War, where he played as a boy. "Anyone in search of a resonant meditation on the instability of built grandeur", wrote the historian Simon Schama in his catalogue essay, "would do well to look hard at Kiefer's The Fertile Crescent". In Morgenthau Plan (2012), the gallery is filled with a sculpture of a golden wheat field, enclosed in a five-meter-high steel cage. That same year, Kiefer inaugurated Galerie Thaddaeus Ropac's gallery space in Pantin, with an exhibition of monumental new works, Die Ungeborenen. The exhibition was accompanied by a publication with a letter by Anselm Kiefer and essays by Alexander Kluge and Emmanuel Daydé. He continues to be represented by the gallery and participates in group and solo exhibitions at their various locations. Books In 1969 Kiefer began to design books. Early examples are typically worked-over photographs; his more recent books consist of sheets of lead layered with paint, minerals, or dried plant matter. For example, he assembled numerous lead books on steel shelves in libraries, as symbols of the stored, discarded knowledge of history. The book Rhine (1981) comprises a sequence of 25 woodcuts that suggest a journey along the Rhine River; the river is central to Germany's geographical and historical development, acquiring an almost mythic significance in works such as Wagner's Ring of the Nibelungs. Scenes of the unspoiled river