Markus Lüpertz

Markus Lüpertz 2014

Markus Lüpertz (born 25 April 1941) is a contemporary German painter, sculptor, poet, writer, professor of art, and jazz pianist.

Early life and education

Markus Lüpertz was born in Liberec, Czech Republic (formerly Reichenberg, Bohemia) on April 25, 1941. His family emigrated to Rheydt, Rhineland (formerly West Germany) in 1948. Studying under Laurens Goossens, Lüpertz attended the School of Applied Arts in Krefeld beginning in 1956. Lüpertz painted his "Crucifixion Paintings (Kreuzigungsbilder)" during an educational stay at the Romannesque abbey of Maria Laach, on Lake Laach in Rhineland-Palatine. He then paused his studies and worked as a coal miner and in road construction for a year. He resumed his studies in Krefeld and then went on to study at the Academy of Arts in Düsseldorf until 1961 when he traveled to Paris and began actively working as an artist.[1]

Career

1960 - 1969

In 1962 Lüpertz moved to West Berlin, where he began his “Dithyrambic” series of paintings in 1962 and his “Donald Duck” paintings — in response to paintings by Franz Kline and Willem de Kooning — in 1963. Lüpertz opened Galerie Grossgörschen 35, an artist’s collaboration space, with an exhibition of his Dithyrambic paintings titled “Dithyrambische Malerei.”

These Dithyrambic paintings were inspired by Lüpertz’s reading of Friedrich Nietzche’s Dionysian poetry. A dithyramb is an ancient Greek hymn sung and danced in honor of Dionysus, the god of wine and fertility. As an adjective dithyrambic has come to mean, “wildly enthusiastic”. Lüpertz’s works from this period give form to this never-ending intoxication — works he once described as “imposing construction on already existing objects”.[2] In 1966 he wrote “Kunst, die im Wege steht. Dithyrambisches Manifest (Art which Disturbs. Dithyrambic Manifesto)" followed by “Die Anmut des 20. Jahrhunderts wird durch die von mir erfundene Dithyrambe sichtbar gemacht (The Dithyramb that I Invented Makes the 20th Century’s Charm Perceptible)" in 1968[3] which was published in conjunction with an exhibition held in the Potsdamer Gallery in Berlin. That same year Lüpertz had his first solo exhibition at Galerie Michael Werner in Berlin. Lüpertz’s relationship with Galerie Michael Werner led to annual exhibitions at Michael Werner’s gallery in Cologne.[2]

The Fallen Warrior, 1994, in Bonn

1970 - 1979

From 1970-1971 Lüpertz lived in Florence after receiving the Villa Romana prize. He began his “Deutsche Motive (German Motifs)" series and completed his “Seerose (Waterlily)" paintings. Lüpertz’s Deutsche Motive series explores the themes of German history and of World War II. In these works, steel helmets, officers’ caps, and Wehrmacht military equipment are represented with a focus on their formal qualities.

Pamela Kort summarized this series of paintings:

“the Deutsche Motive are about an unpredictable history, a history that can only be lamented, by using a strategy of dislocation. In a certain sense, Lüpertz’s figuring of the unfigurable resembles the task facing a painter of scripture, who, in order to safeguard the priority of the mystery, must almost do away with its history without letting it completely slip away. Certainly, World War II was in no sense transcendental, but it remains almost incomprehensible.”[2]

In 1974, Lüpertz was appointed professor at the Academy of Fine Arts in Karlsruhe where he taught until 1987. In 1975 he published first book of poems, “9 x 9.”

In 1976 Lüpertz began his “Mann im Anzug (Man in Suit)". These works, depicting faceless men posing in suits, were taken from 1950s fashion ads.[2][4] In 1977 Lüpertz conceived the "Stil (Style)" series. These paintings combine the poetic dimension of his work with formal abstraction, and were first shown in the exhibition, "Dithyrambische und Stil-Malerei (Dithyrambic and Style Paintings)" in Kunsthalle Bern. This same year, the artist explored themes of death, destruction, and hope in mural compositions created for the Ruhleben Crematorium in Berlin.[2]

Before the end of 1977, Lüpertz withdrew from documenta 6, in Kassel, protesting the presence of official painters and sculptors from the GDR. He was joined by Georg Baselitz and Gerhard Richter in this protest. Lüpertz traveled extensively in Paris in 1978 and began a series of works known as the "Knochen (Bones)" artworks.

1980 - 1989

In 1980 Lüpertz began the series "Alice im Wunderland (Alice in Wonderland)", devoted to the book by the same name by Lewis Carroll.[2]

In the 1980s Lüpertz began making sculptures, a marked shift in his practice. He created monumental figurative works in weathered bronze representing heroes, gods, and musicians that played on distortion and disproportion. Small-scale abstract sculptures in polychrome wood also began to appear in his oeuvre this year.

Lüpertz also continued to produce poetry in the 1980s and published a book of poems "und ich spiele, iche spiele… (and I play, I play)" in 1981, "Ich stand vor der Mauer aus Glas (I Stood Before the Wall of Glass)" in 1982, and an anthology "Gedichte 1961-1983, Auswahl (Poems 1961-1983, Selection)" in 1983. He also published "Tagebuch: New York 1984 (Diary: New York 1984)", following his travels to New York, and "Bleiben Sie sitzen Heinrich Heine (Remain Seated Heinrich Reine)" on the occasion of the exhibition in the Wiener Secession, Vienna in 1984.

Though he was exploring other mediums at this time, Lüpertz did not abandon painting. In 1981 Lüpertz began a series of paintings called "Kongo (Congo)", linked to the exhibition “Painting in Germany 1981” at the Palais des Beaux-Arts in Brussels which included works by A.R. Penck, Georg Baselitz, and Jörg Immendorff. The political and anti-constructivist theme was initially imagined by the artist A.R. Penck but Lüpertz was the only artist to heed Penck’s suggestion. Hecreated over fifteen “Kongo” works in 1981.[5]

In 1982, Lüpertz participated in documenta 7 at the invitation of Rudi Fuchs and began another series of paintings called "Duschkabine (Shower Stall)". He also completed the stage design for the opera “Vincent” by Rainer Kunad at the Staatstheater, Kassel and in 1983 he designed the set for the opera “Werther” by Jules Massenet at the Theater Ulm. 1983 was also the year he was awarded a professorship at the Internationale Sommerakademie für Bildende Kunst Salzburg, Salsburg and conceived his “Judith” sculpture.

While staying in New York in 1984, Lüpertz painted a series of works that capture the city’s atmosphere and lifestyle and which were exhibited at Mary Boone Gallery that same year. He also began work on his series "Pierrot Lunaire (Moonstruck Pierrot)" this same year. In 1985, Lüpertz focused on classical painting and produced his first paintings inspired by Corot. He also produced a series of works inspired by Greek Antiquity and conceived his “Hirte” sculpture.

Lüpertz was awarded another professorship at the Staatlichen Kunstakademie Düsseldorf in 1986, where he was appointed dean in 1988. In 1986, Lüpertz began the "Zwischenraumgespenster (Interspace Ghosts)" series as well his “Titan” sculpture. During this time he also authored a text on Camille Corot, “Hommage à Prévost, Berthe Morisot and Trouillebert.” Lüpertz designed two church windows in the Gothic choir of the Cathédrale Saint-Cyr et Saint Julitte, Nevers but the project was abandoned before they were constructed.[1]

1990 - 1999

In the 1990s, Lüpertz continued to pursue his interest in theater and set design. In 1991 he designed the set and costumes for the opera “The Storm (Der Sturm)” by Frank Martin at the Theater Bremen, Bremen and in 1996 he designed the set and costumes for the Verdi opera “Il Trovatore” at the Deutsche Oper am Rhein, Düsseldorf. He also published another book of poetry titled, "Gedichte und Lithographien (Poems and Lithographs)" in 1991.[2]

Lüpertz began three more series in the 1990s: "Männer ohne Frauen – Parsifal (Men without Women – Parsifal)" in 1993, “Othello” in 1996, and “Vanitas” in 1998 these were exhibited at Zeche Zollverein, Essen. In 1996, The Museum of Modern Art, New York acquired Lüpertz’s works and in 1998, Galerie Michael Werner, Cologne debuted his "Monte Santo" series of paintings.

2000 – Present

In 2000, Lüpertz provided three sculptures for Schloß Bensberg, Bensberg. The same year he presented his “Vesper” cycle for the first time and began work on the “Parsifal” sculptures. In 2002, he began work on the "Rückenakte (Nude Back)" series and in 2003 he began his “Aphrodite” sculptures. Michael Werner Gallery, New York presented "Drei Grazien (Three Graces)" sculptures in 2004 and the following year Lüpertz unveiled the sculptures "Adler (Eagle)" at the Bundesgerichtshof, Karlsruhe. He also unveiled a sculpture made in homage to Mozart in Salzburg and began a series of work depicting Mozart and Salieri the same year.

Lüpertz created a journal called Frau und Hund in 2003 of which two editions in other languages have appeared (Signora e cane, in Italian, and Femme et Chien, in French).

In 2008, the work "Merkur (Entwurfsmodell)" was erected on the RWE tower in Essen. In 2009, Lüpertz’s monumental sculpture “Apollo” was revealed in Bamberg. That same year, he retired from the position of dean at Staatliche Kunstakademie, Düsseldorf.

2010, another prolific year, included the completion of the cathedral windows for “Machabäerchor” at St. Andreas Cathedral, Cologne, and the beginning of the "Teltower Tisch (Teltow Table)" series. It also included the erection of the monumental "Hercules (Herkules)" sculpture, measuring 18 meters, on the THS Tower of Zeche Norstern in Gelsenkirchen in connection with Ruhr.2010: European capital of culture.[6] In 2011 Lüpertz began the “Hölderlin” bronzes and the "Arcadia (Arkadien)" series of paintings.[1]

In May 2017, The Smithsonian’s Hirshhorn Museum and Sculpture Garden and The Phillips Collection will open two in-depth, collaborative exhibitions of works by Lüpertz. The Hirshhorn Museum’s exhibition will be titled “Markus Lüpertz: Threads of History” and will focus on work spanning from 1962 to 1975 in the context of post-war Germany. The Phillips Collection’s “Markus Lüpertz” will be a retrospective of the artist’s five-decade career. Complimenting these historic exhibitions, Michael Werner Gallery will show “Markus Lüpertz – New Paintings” in New York in May 2017.

Markus Lüpertz currently lives and works in Düsseldorf and Berlin and is represented by Michael Werner Gallery.

Exhibitions

Markus Lüpertz's extensive exhibition history begins with Dithyrambische Malerei, Galerie Grossgörschen 35, Berlin in 1964. Other notable exhibitions from the 1960s include Art that gets in the way. Dithyrambic Manifesto at Galerie Grossgörschen 35, Berlin (1966), Lüpertz's first solo exhibition at Galerie Michael Werner, Berlin (1968), The Grace of the 20th Century is rendered visible by the dithyrambs I have invented at Galerie Potsdamer, Berlin (1968). In 1974, Lüpertz participated in the 1st Berlin Biennale, West-Berlin and exhibited at Galerie Michael Werner, Cologne for the first time. In 1982, Lüpertz participated in documenta 7 on the invitation of Rudi Fuchs and in 1984 he exhibited at Mary Boone Gallery, New York while living in the city. In 2004, Lüpertz exhibited Markus Lüpertz: About the Three Graces at Michael Werner Gallery, New York and in 2005, Markus Lüpertz: New Paintings and Drawings was shown at Michael Werner Gallery, New York. Lüpertz's 2017 exhibitions will include “Markus Lüpertz: Threads of History” at The Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington DC, “Markus Lüpertz” at The Phillips Collection, Washington DC, and “Markus Lüpertz – New Paintings” at Michael Werner Gallery, New York.

Honors and Awards

1970

 Villa Romana Prize

1971

Awarded German Critic’s Association Prize (Preis des Deutschen Kritikerverbandes)

1990

Receives Lovis Corinth Prize of the Artist's Guild, Esslingen

2004

Awarded the 4th International Julio González Prize

2006

Awarded honorary doctorate by Academy of Fine Arts, Breslau on October 25

References

  1. 1 2 3 "Michael Werner Gallery". Michael Werner Gallery. Retrieved 2017-03-25.
  2. 1 2 3 4 5 6 7 Garimorth, Julia (2015). Markus Lüpertz: A Retrospective. Cologne: Verlag der Buchhandlung Walther König. p. 34. ISBN 978-2-7596-0284-1.
  3. ↑ Gohr, Siegfried (2007). Markus Lüpertz: Tents 1965. Cologne: Galerie Michael Werner. p. 1. ISBN 978-1-885013-54-5.
  4. ↑ Gohr, Siegfried (2001). Markus Lüpertz. Barcelona: Ediciones Poligrafa. p. 100. ISBN 84-343-0939-4.
  5. ↑ Doig, Peter (2014). Markus Lüpertz : Players Ball. Germany: Michael Werner Gallery. p. 12. ISBN 978-1-938809-06-4.
  6. ↑ Slackman, Michael (October 29, 2010). "Artist Puts Hercules, and Himself, on Pedestals". New York Times. Retrieved March 25, 2017.
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