Markus Lüpertz

from Wikipedia, the free encyclopedia
Markus Lüpertz, 2018
Markus Lüpertz, 2020

Markus Lüpertz (born April 25, 1941 in Reichenberg ) is a German painter , graphic artist and sculptor . He is one of the most famous contemporary German artists. His pictorial objects are characterized by suggestive power and archaic monumentality. Lüpertz urges that the subject matter be captured with an archetypal statement of its existence. Many of his works are attributed to neo-expressionism . From 1988 to 2009 Lüpertz was rector at the State Art Academy in Düsseldorf . In public he shows himself to be an eccentric painter, his ownCult of genius . The press stylized him as a modern painter prince .

Life

childhood and education

Maria Laach Abbey

As a child, Lüpertz moved with the family from Czechoslovakia to Rheydt in the Rhineland in 1948 . His mother's father was a cook from Sicily. He was dismissed from an apprenticeship as a painter of wine bottle labels due to lack of talent. His second teacher, a commercial artist, went bankrupt. Lüpertz studied from 1956 to 1961 at the Werkkunstschule Krefeld with Laurens Goosens, followed by a study visit to the Maria Laach monastery . There he dealt among other things with a crucifixion picture and spent a "fanatically religious time". During his studies he worked inter alia in underground mining , in road construction , and spent a semester at the Düsseldorf Art Academy . The short visit to the academy ended as a “huge fiasco”, a professor “almost puked” because Lüpertz was painting cowboys around the campfire. In a radio interview with the transmitter SWR1 in the show people on Oct. 4, 2013 told Markus Lüpertz, a "physical confrontation that escalated very" have time to his deregistration performed at the Dusseldorf Art Academy. "As an unloved, as an outcast, I was expelled from this house," said Lüpertz in retrospect, judging this "embarrassing defeat" of his student days. Since 1961 he worked as a freelance artist in Düsseldorf.

West Berlin bohemian

Lüpertz first looked for adventure and signed up with the French Foreign Legion . From this he deserted after a few months, even before he could be assigned to Algeria . In 1962 he moved to West Berlin, which spared him military service. In Berlin he began his actual career as a painter. There he founded the self-help gallery Großgörschen 35 in 1964 together with Karl Horst Hödicke , Hans-Jürgen Diehl , Wolfgang Petrick , Peter Sorge and eleven other artists . The 1968 movement remained internally alien to him, despite relevant encounters at the meeting places of the West Berlin bohemians, including the pub Zwiebelfisch on Savignyplatz . In 1969, the Baden-Baden art hall director Klaus Gallwitz showed works by Lüpertz in his 14 × 14 talent show . In 1970 Lüpertz received the Villa Romana Prize and spent a year in Florence as part of the associated scholarship. In Italy at that time not only the art and architecture of fascism were present everywhere. The films also sought to deal with National Socialist Germany, while in the Federal Republic the period of the Third Reich was largely suppressed. In 1974 Lüpertz organized the 1st Berlin Biennale. The following year he published his first volume of poetry 9 × 9 .

"I ask you, let me live,
despise the small children of our profession,
the amateurs, the participants, the bigots
loves the bohemian, I am a bohemian, loves me
[...]"

- Markus Lüpertz (1973)

Teaching activity in Karlsruhe

State Academy of Fine Arts Karlsruhe (main building)

After working as a guest lecturer in 1973, he accepted the professorship for painting at the State Academy of Fine Arts in Karlsruhe in 1974 . Lüpertz published the collection of poems “And I, I play…” in 1981, and the following year he published the collection of poems I stood in front of the glass wall . In 1983 he took over a professorship at the Summer Academy in Salzburg. He dealt with a stay in America in his New York diary in 1984 , and in the same year Stay seated Heinrich Heine also appeared . Until 1986 he was a professor in Karlsruhe. He later described in a poem what significance these years had for him:

“Karlsruhe was my first freedom.
Dark Berlin determined my life.
The cold nights and unheated studios.
The great street, the corner bar, the glory
[…]
And Karlsruhe lured me, the thirty-
year-old. And the city and the possibilities turned on the lights.
Warmth me with southern charm
and idyllic places [...] "

- Markus Lüpertz

Düsseldorf Rectorate

Art academy north of Düsseldorf's old town
Corridor of the art academy
Ratinger Tor (2015)

In 1986 Lüpertz published texts on Camille Corot under the title Hommage à Prévost, Berthe Morisot and Trouillebert . In the same year he received a professorship at the Art Academy in Düsseldorf, in 1988 he was appointed its rector. For a long tenure of more than 20 years he headed one of the most important German academies, no other has produced so many Documenta participants. He filled vacancies at the academy with internationally known artists. These included, for example, AR Penck , Jannis Kounellis , Rosemarie Trockel , Jörg Immendorff , Jeff Wall , Georg Herold , Albert Oehlen , Tal R , Peter Doig and Tony Cragg . As rector, Lüpertz managed to maintain the class system for the Düsseldorf Academy and all art schools in Germany despite numerous university reforms. For the 1993 Venice Biennale , Lüpertz was invited to the German pavilion together with Georg Baselitz and Anselm Kiefer . He left his place to the other artists to exhibit if he was invited to a solo show. Walter Grasskamp characterized Lüpertz:

“His winning generosity is therefore not without a false bottom; whoever receives a gift from him suspects that he has been jovially offended at the same time, but would hardly be able to resent the latter. Because it is difficult to escape the boisterous charm, the playful aggressiveness and the well-trained vanity of this busy dogmatist who appreciates being underestimated because it is a further incentive to prove his strengths - and be it only in the disgusting way of a solid brawl that by no means spares the person opposite. "

- Walter Grasskamp 1995

In 2005, Lüpertz vacated his Düsseldorf workshop in order to hold a celebration there for the 60th birthday of his painter friend Jörg Immendorff, who was ill . He is also on friendly terms with other colleagues such as Baselitz, Kiefer and AR Penck. Lüpertz described his position in this group of artists: “Let's take Baselitz. I once said to him: Georg, you are the greatest living painter I know. But I am the genius. As a result, I can live with it brilliantly. That's why I can look forward to every success of my colleagues. ” Towards the end of his rectorate, Lüpertz was accused of failing to set up a second photo class at the Düsseldorf Academy and thus the new media compared to the traditional subjects of sculpture and painting neglected. In June 2009 Lüpertz was passed, his successor as rector was Tony Cragg.

From 2008 to 2017 Lüpertz had his studio in the southern gatehouse of the Ratinger Tor . In 2009 Lüpertz was elected to the North Rhine-Westphalian Academy of Sciences and Arts .

Since 2014 he has been a lecturer at the Academy of Fine Arts at the Alte Spinnerei .

The painter as a free spirit

Lüpertz lives and works in Berlin , Karlsruhe , Düsseldorf and Florence . He has his studio in Teltow . He is married and has five children. Lüpertz converted to the Catholic faith.

“For me as a Catholic, God is the projection of all good, all knowledge. Everything we have gathered about being, right down to the wonderful stories in the Bible. That is why religion is important because it demands belief in ideals, inconsistencies, and unbelievable things. I think it's wonderful to believe in this great dream, unrealistic as it is. [...] Just look at the church, just the ceiling paintings, the mosaics, the glass windows. For me, the Catholic Church is the most visually exciting. The homemade, the canned, the self-invented, the self-driven is the Catholic Church, and people were ready to believe in it. Now we have the opposite [...] "

- Markus Lüpertz 2006

In addition to his work as a painter and sculptor, Lüpertz devotes himself to free jazz , including playing the piano. Occasionally he gives concerts with professional musicians. He publishes the art and literary magazine Frau und Hund , which he founded , in which he also publishes his own poetry and prose. “Unusual texts with abstruse private philosophies, as well as original contributions, cannot be found without grace and wit.” Lüpertz also pays attention to his physical performance. He does pushups every morning and rides his racing bike. Until 2006 he played football in his own team, "Lokomotive Lüpertz", but then gave up because of a car accident; he fell asleep while driving. Lüpertz planned a private art academy in the former villa of the banker Henckel am Pfingstberg in Potsdam. In the fall of 2010, the academy Souci GmbH Markus Lüpertz Potsdam should open its studies. Lüpertz canceled the project. When asked how to invent yourself, Lüpertz replied:

“You look in the mirror and check a few things: What family am I in, to what extent do I depend on these stories, do I depend on who the father was, was I loved or not? You register a few injuries and happiness too, good things too. And then you decide to be independent, and that's where it starts. You make a pact with yourself: you no longer want to be ugly, you no longer want to be fat, you no longer want to be stupid, you no longer want to be the boy who had little money. You invent advantages yourself. So I decided to be a handsome man and a genius. I trained my body and mind. I had to conquer everything myself, the decisions of a free spirit. "

- Markus Lüpertz 2006

Works (selection)

painting

Markus Lüpertz created the first paintings around 1960. In contrast to the predominant abstract tendencies in painting of his time, the young Lüpertz designed simple representational motifs in an expressive manner. His early works often show a powerful imagery with monumental representations of representational forms. The end of painting had been proclaimed several times since the beginning of modernism , but Lüpertz stuck to his profession. In his painting he combined contradictions. As a noticeable dichotomy, he took the modernity's doubts about tradition into his pictorial constructions and sought the way out of the then overpowering abstraction . In 1962 he developed his "dithyrambic painting" in Berlin and began the Mickey Mouse series and, a year later, the Donald Duck series .

“It started in 1962 with the first pictures like the Mickey Mouse series, which still had the unbroken color scheme that developed from Tachism. They dealt with their time by adopting the colourfulness, repeatability and banality of comics. So they were not an intellect controlled Informel, but they played with the superficiality of the comics. [...] These images spoke through contrasts and turned against any form of three-dimensionality. "

- Markus Lüpertz 1989

In 1964, on the occasion of the opening of the Großgörschen 35 gallery, the Dithyrambic Painting exhibition followed . He took the term from Friedrich Nietzsche's Dionysus poems . The dithyrambe is derived from the Greek dithyramb . It is a passionately excited, stormy song of praise to the god Dionysus . In a figurative sense, it means an enthusiastic hymn of praise. In the case of the dithyrambe everything potentially merges into one another, there is nothing isolated. Lüpertz combines the opposites of objectivity and abstraction into a synthesis. He lets abstract tectonic structures float in the pictorial space. In his dithyrambic pictures you can see the intoxication and the realism. The art should be experienced as a great, Apollonian-disciplined intoxication. Lüpertz sees the pictorial universe shaped by a continuous rhythm to which everything is subordinate. Two years later, art appeared that stands in the way. Dithyrambic Manifesto , followed in 1968 by a second manifesto under the title The Grace of the 20th Century is Made Visible by the Dithyramb I invented .

“The grace of the 20th century is made visible by the dithyrambe that I invented. Don't give color a chance to cover up, to push itself into the foreground or to throw sand in the eyes. Nothing should be covered up, everything should remain visible, honesty is required. The beautiful color is dangerous because it helps. "

- Markus Lüpertz 1965

With the growing economic boom in the 1960s, fear and awareness of death remained audible at the Lüpertz plant as an echo of the war. From 1969 to 1977, dealing with German history, he mainly painted German motifs , namely, symbolic objects such as steel helmets, shovels, flags or monumental antlers in large formats. The paintings are executed in earthy colors and thematize the unresolved German national pathos. It evokes ominous memories of the Third Reich and National Socialism . But through “the connection with amorphous objects and an open, painterly brushwork, the former symbols are robbed of their aura of power. Ultimately, there remain dead clichés whose literary connotations are wiped away by the artist's brush. The works are irritating, their formal pathos proves to be a paradox of the meaning of the content. ”In 1977 he gave up this subject . From 1977 to 1984 the style painting phase followed , which was based on the abstract painting of the 1950s. His paintings from this period are almost completely free of motifs, the play with surface and volume-forming forms and the wealth of painterly surfaces are used fruitfully.

These tendencies end in favor of a new objectivity and spatiality. During this phase he created the series pictures , which he titled with quotations from art history. In the work section from 1985 to 1990, Lüpertz devoted himself to the masters Jean-Baptiste Camille Corot and Nicolas Poussin, whom he admired . “When Lüpertz refers to Poussin, this means finding new rhythms for the pictorial body or, as Poussin said, the tableau, which can only be interpreted in terms of content afterwards. Not realism, but a strict artificiality emerges from this strategy, a painting parallel to nature and to one's own time ”.

One of his best-known works is the series of images Men without Women - Parsifal , created between 1993 and 1997 . In this extensive series, Lüpertz stuck to a single theme: the frontal male face, which is often depicted crying. Parsifal refers to the hero in Richard Wagner's last opera , to the female temptation and redemption in a male world. At the same time, the subject can be related to the loneliness of the painter in the studio.

His landscape paintings , which he created from 1997 onwards , are new, distinguishing themselves from the previous work and characterized by a more fleeting composition. The Vanitas cycle was created in 1999, and the Vespers cycle was shown for the first time in the following year . In 2001, Lüpertz created the mural The Six Virtues for the foyer of the new Federal Chancellery in Berlin . There is nothing to be seen on the monochrome paintings except colors. Lüpertz resorted to old iconological concepts that assigned certain colors to the virtues of rulership. The main source of inspiration for this was the Iconologia by Cesare Ripa . The colored walls surround the sculpture The Philosopher .

Sculptures

Since 1980 Lüpertz has also designed stage sets and sculptures. In 1989 he created the figure of Apollo for a niche in the Alte Oper in Frankfurt , whose bent right arm reaches for an arrow on his left shoulder. It was cast in an edition of six. In Karlsruhe at the Bannwaldallee the bridge sculpture is The Ugly scares the Beautiful in 1990. In the Berlin Kantstrasse is ousted warriors , the 3.00-meter bronze of a fallen with helmet and shield. The park of Schloss Bensberg received an ensemble of three sculptures in 2000. In 2001 the bronze The Philosopher was placed in the foyer of the new Berlin Federal Chancellery ; it is a monumental female sculpture from 1998. "Lüpertz designed it as a nude figure and thereby brought the iconography of allegorized philosophy into surprising contact with the allegory of 'naked truth'" .

Also in 2001 Lüpertz received the order for the sculpture Daphne , which was cast in 2003 in an edition of three copies. “At Lüpertz, Daphne becomes a triumphant heroine and victor over Apollo . The subject continued to occupy the artist even after the monumental sculpture was completed. The bozzetti , cast in bronze, show the merging of sculpture, painting and drawing and thus represent the overcoming of genre-specific creativity and artistic thought. Likewise, the motifs in the drawings for the Daphne work groups and the related works on the subject of standing and free legs are condensed into complex structures that open up into space. ”In 2005 Lüpertz installed the eagle in the Federal Court of Justice in Karlsruhe and the sculpture Mozart - A tribute set up in Salzburg. +

Two years later, the Mercurius followed in front of the Post Tower in Bonn and in 2009 an Apollo on Elisabethenplatz in Bamberg . The laudation at the unveiling of the 1.88 m high Apollo on May 4, 2009 was given by Gerhard Schröder , who is friends with Lüpertz. At the feet of Apollo lies a little lyre by which he can be recognized. It is an example of Lüpertz's exploration of classic and ancient design principles. The Apollo shows the posture of standing leg-free leg. The painting of the bronze is also reminiscent of the Greek and Roman times. At the same time, Lüpertz quotes the design principles of Cubist, Expressionist and African art in his works of art. The simplicity of the archaic is reflected in his sculptures, whereby Lüpertz remains stuck with traditional methods: only the unconscious can be new. According to Lüpertz, the means of representation should remain technically conventional, otherwise space would be taken away from the unconscious. Lüpertz therefore had almost all sculptures cast in bronze. This material accommodates the expression of the classically beautiful, although its figures appear superficially partly destroyed and damaged. The Dionysian is combined with the Apollonian, the viewer senses the “divine cruelty” that is still thought of in unity in the archaic.

Echo of Poseidon

“There is no visual art that has not been at home in a temple at some point. Each stump of a column is the beginning of a Munch tree, which in turn is the arm of Beckmann. "

- Markus Lüpertz 2009

The 18-meter-high and 23-tonne Hercules , which Markus Lüpertz had erected on a winding tower of the former Nordstern colliery, was inaugurated in Gelsenkirchen's Nordsternpark in 2010 . The sculpture was created over a year of work from 244 individual cast aluminum parts, Hercules ' hair and beard were colored blue. The North Star Tower and the sculpture tower over a hundred meters into the sky. In 2014, a 2.70 m high bronze sculpture by Ludwig van Beethoven was placed on a one meter high plinth in Bonn's city garden . The sculpture stands directly on the Rhine near the alley where Beethoven spent his childhood. Another cast of the Beethoven statue with a different painting was unveiled in December 2015 in front of the Museum of Fine Arts in Leipzig , which aroused some criticism.

In May 2016 , a six meter high bronze statue named Echo des Poseidon was inaugurated in Duisburg-Ruhrort , at the confluence of the Rhine and Ruhr rivers. The 11-ton statue stands on a 4.5 meter high base on Mercator Island at the entrance to Duisburg's inland port.

Church window

On behalf of the church, Lüpertz designed several glass windows. From 1989 to 1990 he created windows for the French cathedral Saint-Cyr-et-Sainte-Julitte in Nevers . In 2007, seven glass windows were completed for the Maccabees' choir in the south transept of the Dominican Church of St. Andreas in Cologne , and in 2010 five windows in the opposite north St. Mary's choir were completed. Lüpertz also provided the templates for church windows in Lübeck's Marienkirche . In July 2012 he presented drafts for seven windows of the village church in Landsberg-Gütz. These were independent additions to defective windows that came from the early 20th century and showed portraits of Petrus, Paulus, Martin Luther and Melanchthon. Lüpertz also created two completely new depictions on the side windows, which were given by the church council as the themes of The Reconstructor and The Ranger . They refer to the recent history of the district of Gütz in the municipality of Landsberg . On Reformation Day in 2013, the congregation officially inaugurated the new church windows.

In 2016, Lüpertz was commissioned to design two windows for the Evangelical Marienkirche in Lippstadt . It is an addition to the partially destroyed Luther window from 1883 and a newly created window on the occasion of the “500 Years Reformation” anniversary. The Reformation window shows an abstract person and is meant to symbolize the reformer in everyone. The window is subtitled by Wilhelm Willms with the line of the song “The sky goes up above all” . The windows were officially presented to the community on November 12, 2017.

In this context, Lüpertz described it as one of the most beautiful and exhilarating moments for an artist to paint with light. The church is a place that preserves art, because works cannot simply be removed like in a museum. Lüpertz sees his church windows as contemporary art, but they were created in the examination of and in the experience of tradition.

gallery

  • The judgment of Paris (part)

  • The judgment of Paris (part)

  • The fallen warrior

  • Daphn e

  • Homage to Liebermann (Berlin 1997)

  • Adler in session room 04 of the Federal Court of Justice , 2004–2005

  • Mercury

  • Hector

  • Beethoven

  • Mozart in Salzburg

Exhibitions and museums

The Michael Werner Gallery organized its first exhibition in 1968. In 1973 an overview of the works followed in the State Art Gallery in Baden-Baden . In 1977 the Kunsthalle Bern showed dithyrambic and style painting . In the same year he resigned from taking part in documenta 6 in Kassel together with Georg Baselitz . The painters did not want to be equated with the official GDR art, which was presented for the first time at the documenta. In 1982 he could be seen with works at documenta 7 in Kassel . An exhibition followed a year later in the Stedelijk Van Abbemuseum, Eindhoven. In 1986 the Städtische Galerie in the Lenbachhaus in Munich presented animated forms and cold painting. Paintings and sculptures . A retrospective of the paintings, sculptures and drawings from 1964 to 1988 followed in 1989 in the Abbaye Saint-André, a Center d'Art Contemporain in Meymac. The Museo Reina Sofía in Madrid presented another retrospective from 1963 to 1990 in 1991.

In the 1990s, numerous other exhibitions followed in the Kunstmuseum Bonn , in the Palais Liechtenstein in Vienna, in the Reuchlinhaus in Pforzheim, in the gallery of the city of Stuttgart , an exhibition tour of the bronzes through the Städtische Kunsthalle Mannheim , the Städtische Kunstsammlungen Augsburg and the Gerhard-Marcks -Haus Bremen, the exhibition The Mediterranean Myth in the Museum of Modern Art Bozen , a thematic exhibition in 1996 in the Kunstsammlung Nordrhein-Westfalen in Düsseldorf, 1997 an exhibition of the paintings in the Stedelijk Museum in Amsterdam and later other exhibitions in the art gallery of the Hypo-Kulturstiftung in Munich, in the Von der Heydt Museum in Wuppertal, a sculpture exhibition in the Lowe Gallery in Atlanta and the first presentation of the Monte Santo series of images in the Michael Werner Gallery in Cologne. In 1999, the Vanitas cycle was created in the Zeche Zollverein in Essen, and in 2000 the Vesper cycle became part of the Lost Paradise Lost exhibition . Art and sacred space shown in Hanover. In 2002, factory exhibitions followed in the IVAM Center Julio González in Valencià and in the Würth Museum in Künzelsau. The art and exhibition hall of the Federal Republic of Germany in Bonn showed in 2009/2010 with the special exhibition main routes and side routes. A retrospective. Pictures and sculptures from 1963 to 2009 the most extensive solo exhibition on Lüpertz to date. In 2010 the Albertina in Vienna followed with Markus Lüpertz. Metamorphoses of world history . In the Kunstforum Ostdeutsche Galerie , Regensburg, Lüpertz himself placed all the pictures and objects for the exhibition Mythos and Metamorphosis (2010/2011). The Horst Janssen Museum in Oldenburg is showing from March 2nd to June 3rd 2012 under the title Markus Lüpertz - Legendary drawings, prints and sculptures by the artist.

Works by Lüpertz can be seen in numerous museums and public collections, among others in the Walter Art Museum in Augsburg, in the Pinakothek der Moderne in Munich, in the Musée d'Art Moderne et Contemporain de Strasbourg , at the Overbeckgesellschaft in Lübeck, in the Haus der Kunst in Munich, in the Kunsthalle Baden-Baden, in the Kunsthalle Bern, in the Kunsthalle Düsseldorf, in the Landesmuseum Munich, in the Moderna Museet Stockholm, in the Musée d'Art et d'Histoire in Geneva, in the Musée d'Art et d'Industrie in Saint-Etienne, the Musée d'Art Moderne de la Ville de Paris in Paris, the National Gallery in Berlin, the Palais des Beaux-Arts in Brussels, the Stedelijk Van Abbemuseum in Eindhoven, the Tel Aviv Museum and the Saint Louis Art Museum .

“The content is a communication problem that the artist tries to avoid, because the viewer has to carry and invent the content of the picture within himself. The artist merely creates the defect, the wound, the crisis from which the question of content emerges. The content, it is explained somewhere, is a compromise and is not the responsibility of the artist himself. But it is available as a lie and as a means and possible as a liming rod. "

- Markus Lüpertz 2009

Criticism of the work

Peter Winter criticized Lüpertz as early as 1983 as a “ bramar-based Bohemia” , “shrewd self-promoter, fashion tendency and photo poseur, master of dodging and director of sloppiness” . In 1991, Hans-Joachim Müller referred to him as the “ Consul Weyer of Painting” , who “shouldn't show the borrowed tailcoat” . In 1992 Matthias Matussek called him a “ Liberace of violent painting.” In August 2005, the sculpture Mozart - A Homage on Ursulinenplatz in Salzburg was painted with red lacquer and feathered by Martin Humer . He justified this: “We don't put up with that. Provocation must be answered with provocation. ” The statue is “ also a kind of pornography ” , and “ To portray Mozart in this way is an abomination. Only a psychopath can do that. ” Lüpertz's Mozart sculpture appears as a hermaphroditic mythical creature, the characteristic Mozart braid has the shape of an erect penis while the nose, hips and chest appear feminine. The left leg is spread apart as if for a dance step. The lips shine red in the white make-up face with a beauty mark on the cheek. Lüpertz was not interested in a portrait of the composer. He decided on the expressive portrayal of a muse , "[...] because Mozart is music for me - and it is female". According to Lüpertz, the missing arm of the figure refers to the high aesthetic value of the fragmentary in ancient sculpture and to the fact that Mozart's life and work remained a fragment. However, she was also criticized by artist colleagues; In an interview , Gerhard Richter spoke of a "questionable Mozart honor" that is only tolerated because "it is better to close your eyes and keep your mouth shut before being labeled a philistine." There was controversy in Augsburg around the Aphrodite sculpture for a fountain in the city center. In June 2006 his sculpture Chillida , which was erected near the bridge town hall in Bamberg, was overturned and severely damaged, the head of the work of art tore off. Lüpertz 'sculptures were sometimes referred to as "Bazel sculptures" because they were reminiscent of objects that children form out of wet sand.

The major retrospective Hauptwege und Nebenwege in 2009 caused another wave of criticism. Julia Voss asked in the FAZ : “What world does this prince want to rule? - His pictures are teaching examples of how a German artist can reliably fall into every trap that confronts him. ” A similarly critical review appeared in the“ Süddeutsche Zeitung ”. The one with the Georg Büchner Prize excellent poet Durs Grünbein asked in Die Zeit , "why the realistic sculptures of Markus Lüpertz more than any other contemporary art" provoked. Grünbein explained the fact that the sculptures are so controversial with the fact that Lüpertz confronts us with “a deep-seated instinctual inhibition that regularly breaks through in the all too human forms that are perceived as grotesque or ugly. [...] The characters of Markus Lüpertz [radiate] such a funny majesty and serenity [...] because they know about everything that is low and petty human. " It is not the worst task of art to " be a vessel for affects that let out belong like the body toxins that one hoped to drain with bloodletting in earlier times . " Hans-Joachim Müller sums up:

“You don't have to like that, the avowed genius, the dandy, his old German masculinity, the silver knob on the walking stick, this imperious grand master's travesty. But one shouldn't be blinded to the actual subject matter of the Lüpertz epic. From a distance [...] in particular, the bombast of creator and creation proves to be a costuming of an idea that is central to the cultural and even more so social history of this country. From its inception, this work has been directed at haughty opposition to the critical paradigm as defined in the 1960s and 1970s. That is its real meaning. Lüpertz was, even more than Baselitz , the anti-68er who, in the middle of the minimalist mainstream, when art retreated to the floor in the form of different steel plates, exclaimed in a thunderous voice: 'Rise up and be someone again!' And the actual breaking of taboos does not lie in the penetrating demonstration of motifs such as a soldier's skirt and steel helmet, which at least back then reliably used the stimulus-response scheme. It was rather provocative how the painter freed the dark inventory from its merely critically tolerated form of survival, opened Pandora's box, as it were, and handed its contents over to art, which is not responsible for anything or anyone. "

- Hans-Joachim Müller 2009

Honors and memberships

Publications

  • Siegfried Line . Hake, Cologne 1969
  • And I, I play… . Galerie Springer, Berlin 1981
  • I stood in front of the glass wall . Galerie Springer, Berlin 1982
  • Stay seated Heinrich Heine . Vienna Secession, Vienna 1984
  • Diary - New York 1984 . Gachnang & Springer, Bern a. Berlin 1984
  • The next best . Picaron, Amsterdam 1990
  • Poems . Picaron-Ed., Amsterdam 1991
  • Men without women . Kleinheinrich, Münster 1994
  • The money - the art . German Pharmacists and doctors bank, Düsseldorf 2000
  • Homage to Mozart . Brandstätter, Vienna 2005
  • Fever sheets . Christine Hölz ​​Gallery, Düsseldorf 2005
  • Giving the rules to art . Ammann, Zurich 2005
  • Dance of death . Cooling, Mönchengladbach 2006
  • Narcissus and Echo . Kleinheinrich, Münster 2007
  • The great river . GH Holländer, Teltow 2007
  • God Mercury . GH Holländer, Teltow 2007
  • Daphne . Insel, Frankfurt, M. 2008
  • Untitled ( Mozart ). Color silkscreen, 2009
  • The right to philosophy or: about the need to philosophize . König, Cologne 2011
  • (as an illustrator): The Basic Law , Gütersloh 2012, ISBN 978-3-577-07467-4

literature

  • Eckhart J. Gillen (Ed.): Großgörschen 35 . Departure for the art city Berlin 1964 . Exhibition catalog with texts by Barbara Esch Marowski, Lothar C. Poll , Eckhard J. Gillen. Haus am Kleistpark in cooperation with the Poll Art Foundation , Berlin 2014 (without ISBN).
  • Tatjana Dübbel, Jörg-Philipp Thomsa (Ed.): Unrest in Olymp . Poems, drawings and sculptures by Markus Lüpertz. Lübeck 2013, ISBN 978-3-942310-08-6 . Catalog for the exhibition in the Günter Grass House 2013.
  • Markus Lüpertz, fabulous. Painters' countermeasures in drawings, sculptures and graphics . Edited by Geuer & Breckner, Düsseldorf 2011, ISBN 978-3-939452-12-6 .
  • Markus Lüpertz. Main roads and side roads; a retrospective, pictures and sculptures from 1963 to 2009 . Ed .: Art and Exhibition Hall of the Federal Republic of Germany GmbH, Bonn. Editor: Susanne Kleine. Snoeck, Cologne 2009, ISBN 978-3-940953-21-6 .
  • Markus Lüpertz . Edited by Ingried Brugger u. Florian Steininger . Ed. Minerva, Wolfratshausen 2006, ISBN 3-938832-10-X .
  • Markus Lüpertz and the baroque Bamberg . Edited by the international artist house Villa Concordia. Text: Denise Dumschat, Bernd Goldmann u. Simon Kuchlbauer. Ed. Fränkischer Tag, Bamberg 2006, ISBN 3-936897-38-7 .
  • Sabine Kampmann: To be an artist. System-theoretical observations of authorship: Christian Boltanski, Eva & Adele, Pipilotti Rist, Markus Lüpertz . Fink, Paderborn 2006, ISBN 3-7705-4356-4 .
  • Markus Lüpertz. The memory and the form . Catálogo. Ed. Aldeasa, Ana Cela. Trad. Karel Clapshaw. Aldeasa, Valencia 2002, ISBN 84-8003-305-3 .
  • Markus Lüpertz - painting, drawing, sculpture . Edited by C. Sylvia Weber. Swiridoff, Künzelsau 2002, ISBN 3-934350-69-0 .
  • Siegfried Gohr : Markus Lüpertz . Dumont, Cologne 2001, ISBN 3-8321-7000-6 .
  • Big figures. Sculpture - painting - drawing; Immendorff; Lüpertz; Penck . Ed .: Kunsthalle Darmstadt, texts by Peter Joch. Ed. Braus, Heidelberg 2001, ISBN 3-89904-006-6 .
  • Heinrich Klotz : The painting between modern and postmodern. Markus Lüpertz . In: Ders., Art in the 20th Century. Modern, Post-Modern, Second Modern . CH Beck, Munich 1999, pp. 69-75.
  • Markus Lüpertz. Art gallery of the Hypo-Kulturstiftung Munich, July 11 to September 14, 1997 . Edited by Siegfried Gohr. Kunsthalle der Hypo-Kulturstiftung, Munich 1997, ISBN 3-7774-7570-X and Hirmer, Munich 1997, ISBN 3-7774-7570-X .
  • Speeches to Lüpertz. North Rhine-Westphalia Art Collection, Düsseldorf, April 28, 1996 . Ed .: Thomas Heyden, Dorothee Jansen. Kunstsammlung Nordrhein-Westfalen, Düsseldorf 1996, ISBN 3-926154-30-6 .
  • Markus Lüpertz. Paintings - sculptures . Ed .: Armin Second. Cantz, Ostfildern-Ruit 1996, ISBN 3-89322-839-X .
  • Markus Lüpertz. Sculptures in bronze Katalogred. Jochen Kronjäger, Inge Herold. Ed. Braus, Heidelberg 1995, ISBN 3-89466-130-5 .
  • Walter Grasskamp: Magnificence Lüpertz. The charm of the counter-revolution . In: Ders .: The long march through illusions . CH Beck, Munich 1995, pp. 79-94.
  • Johann-Karl Schmidt : About the war . In: Homo homini lupus. Markus Lüpertz - War . Pforzheim 1994, ISBN 3-9803529-6X , pp. 11-27.
  • Markus Lüpertz. Print, catalog raisonné 1960–1990 James Hofmaier catalog, text Johann-Karl Schmidt. Ed. Cantz, Stuttgart 1991, ISBN 3-89322-360-6 .
  • Markus Lüpertz in conversation with Heinz Peter Schwerfel . Kiepenheuer u. Witsch, Cologne 1989, ISBN 3-462-02007-2 .
  • Markus Lüpertz. Sign. from d. Years 1964–1985 . Selected by Siegfried Gohr, Johannes Gachnang. Gachnang and Springer, Bern / Berlin 1986, ISBN 3-906127-01-X .
  • Markus Lüpertz: Pierrot Lunaire . Catalog of the exhibition June 7 - July 12, 1986. With ten poems from the cycle Pierrot Lunaire by Albert Giraud. Reinhard Onnasch Gallery, Berlin 1986.
  • Walter Ehrmann: Markus Lüpertz. Comments on the problem of identity from Markus Lüpertz . In: Kunstforum , Vol. 20, February 1977, pp. 100-106.

Web links

Commons : Markus Lüpertz  - Collection of images, videos and audio files
Wikiversity: Markus Lüpertz: «Laundry on the line dithyrambic» (1968)  - course materials

Individual evidence

  1. ↑ Andrea Firmenich , Johannes Janssen (ed.): Markus Lüpertz - Durs Grünbein, Daphne - Metamorphosis of a figure . Wienand, Cologne 2005, ISBN 978-3-87909-870-5 , p. 15; see. also the press kit of the Albertina Vienna for the exhibition Markus Lüpertz. Metamorphoses of World History, March 11, 2010, p. 1
  2. ↑ Lüpertz hates the term "painter prince" , monopol-magazin.de, March 19, 2016.
  3. ↑ https://www.ndr.de/ndrkultur/epg/Markus-Luepertz-und-der-Film,sendung992470.html
  4. ↑ a b Drunk, enthusiastic . In: Der Spiegel . No. 35 , 1973 ( online ).
  5. ↑ SWR1 Baden-Württemberg: Radio interview between artist Markus Lüpertz and presenter Stefan Siller on www.swr1.de, October 4, 2013
  6. ↑ According to his own statements, he was 17 years old, cf. Interview in ZEITmagazin on January 6, 2011 , but there are no corresponding references in the published biographical data in the specialist literature, cf. Gohr (1997), p. 210, and Art and Exhibition Hall of the Federal Republic of Germany (2009), p. 371
  7. ^ Artist talk as part of the exhibition Markus Lüpertz, Albertina, March 8, 2010
  8. ↑ See Siegfried Gohr (ed.), Markus Lüpertz , Hirmer, Munich 1997, p. 17.
  9. ^ Prose poem in the commemorative publication for the exhibition in Baden-Baden 1973, quoted from: Siegfried Gohr, Markus Lüpertz , 2001, p. 12.
  10. ↑ Städtische Galerie Karlsruhe (ed.), Painting is dead, long live painting , 2004, p. 71.
  11. ↑ Land up, land down. Karlsruhe and Stuttgart in the kaleidoscope of the Würth Collection . Kunsthalle Würth, Schwäbisch Hall 2004, p. 19.
  12. ↑ Biography of Markus Luepertz. In: Galerie Kreuzer - graphic workshop. Retrieved March 19, 2009 .
  13. ↑ KulturSPIEGEL 2/1996
  14. ↑ Helga Meister: I am a radical materialist . Art forum conversation with Tony Cragg, in: Kunstforum International , Vol. 200, January / February 2010, p. 424.
  15. ↑ ifa artist database on Markus Lüpertz  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / kuenstlerdatenbank.ifa.de  
  16. ^ Walter Grasskamp, Magnificence Lüpertz. The charm of the counter-revolution , in: ders. The long march through illusions , CH Beck, Munich 1995, p. 85.
  17. ↑ Süddeutsche Zeitung Magazin, issue 37/2007
  18. ↑ One of the artists who criticized the academy was Andreas Gursky in particular . See Helga Meister: I am a radical materialist . Art forum talk with Tony Cragg. In: Kunstforum International , Vol. 200, January / February 2010, pp. 424–425.
  19. ↑ Lüpertz keeps lease for Ratinger Tor , on wz.de from February 22, 2017
  20. ↑ Markus Lüpertz - biography. In: Who's Who Online. rasscass Medien und Content Verlag, accessed on March 19, 2009 .
  21. ↑ Markus Lüpertz unveils church windows . In: Der Tagesspiegel , December 17, 2007
  22. ↑ a b Interview in: Die Zeit , No. 26, 2006
  23. ↑ Susanne Altmann: The Piano Prince. (No longer available online.) In: art - Das Kunstmagazin . Gruner + Jahr , March 17, 2008, archived from the original on October 11, 2008 ; Retrieved March 19, 2009 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. In 2011, on Manfred Schoof's birthday, he also played as a soloist in the WDR Big Band Cologne , cf. A colorful dance @1@ 2Template: Webachiv / IABot / www.art-magazin.de
  24. ↑ Martin Krumbholz, Skewed Thinking , in: Deutschlandfunk, Büchermarkt , March 20, 2008
  25. ↑ Heidi Jäger: Villa Henckel. Dictator from Pfingstberg . In: Der Tagesspiegel , July 29, 2009.
  26. ^ Der Tagesspiegel, July 9, 2010
  27. ↑ Quoted from the press kit of the Bundeskunsthalle for the 2009/2010 retrospective, p. 9.
  28. ↑ Quoted from the press kit of the Bundeskunsthalle for the 2009/2010 retrospective, p. 8.
  29. ^ Siegfried Gohr (ed.), Markus Lüpertz , Hirmer, Munich 1997, p. 14.
  30. ^ Press kit of the Albertina Vienna for the Markus Lüpertz exhibition . Metamorphoses of World History , March 11, 2010, p. 1 f.
  31. ^ Siegfried Gohr (ed.): Markus Lüpertz . Hirmer, Munich 1997, p. 18.
  32. ^ Siegfried Gohr (ed.): Markus Lüpertz . Hirmer, Munich 1997, p. 27.
  33. ^ Siegfried Gohr (ed.): Markus Lüpertz . Hirmer, Munich 1997, p. 102.
  34. ^ A b Siegfried Gohr: Markus Lüpertz - works for the public . In: Art and Exhibition Hall of the Federal Republic of Germany GmbH (Ed.): Markus Lüpertz. Main and secondary routes , Snoek, Cologne 2009, p. 311.
  35. ↑ Eric Darragon mentions the year 1998, cf. The figure, the divine, the abstract . In: Art and Exhibition Hall of the Federal Republic of Germany GmbH (Ed.): Markus Lüpertz. Haupt- und Nebenwege , Snoek, Köln 2009, p. 280. Gohr, on the other hand, dates them to 1995, ( Markus Lüpertz - Works for the Public , 2009, p. 311.)
  36. ^ Press kit of the Albertina Vienna for the Markus Lüpertz exhibition . Metamorphoses of World History , March 11, 2010, p. 2.
  37. ↑ Bamberg City Planning Office, May 5, 2009, on the unveiling of Apollo
  38. ↑ Quoted from the press kit of the Bundeskunsthalle for the 2009/2010 retrospective, p. 8.
  39. ↑ Frederik Hanssen: Ruhr in peace . In: Der Tagesspiegel , December 17, 2010.
  40. ↑ Elisabeth Höving: Lüpertz paints Hercules a (royal) blue beard , in: Der Westen from 7 December 2010 .
  41. ↑ Bonn receives Beethoven sculpture from Lüpertz , in: Monopol - Magazine for Art and Life , February 19, 2014 ( Memento of the original from February 24, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.monopol-magazin.de
  42. ↑ Beethoven statue in Leipzig
  43. ↑ [1]
  44. ↑ Article in the blog of the art transporter Niesen, Leverkusen
  45. ^ Ralf van Bühren : Art and Church in the 20th Century. The reception of the Second Vatican Council , Paderborn 2008, p. 617f.
  46. ^ Daniel Kletke: Church windows by contemporary artists: Windows to the present. In: artnet . June 12, 2008, accessed February 22, 2010 .
  47. ↑ a b The ev. Village church St. Anna and St. Katharina in Gütz and their windows by Markus Lüpertz . Flyer from Förderverein Gützer Kirche eV :, as of summer 2014.
  48. ↑ Art knows no province . In: Monuments Online 5.2012
  49. ↑ https://www.kirche-im-swr.de/?page=manuskripte&id=21399
  50. ↑ Constantin Graf von Hoensbroech: Painted with light for eternity . In: Die Tagespost , June 22, 2010.
  51. ↑ Martin Blättner, Markus Lüpertz , in: Kunstforum International, March / April 2011 (vol. 207), p. 349.
  52. ↑ Quoted from the press kit of the Bundeskunsthalle for the 2009/2010 retrospective, p. 8.
  53. ^ Peter Winter: Markus Lüpertz . In: The artwork , Volume 36, W. Kohlhammer, 1983, p. 68.
  54. ↑ “It is the strenuous aristocracy of the painter prince who should not be seen to have borrowed tails. Maybe Markus Lüpertz is the consul Weyer of painting and has to be considered the real master of the current conversation picture. ”Hans-Joachim Müller: Abundance through sheer emptiness . In: Die Zeit , No. 11, 1991.
  55. ^ Matthias Matussek, reception at court. Lüpertz, Tizian and Co. , in: Kursbuch, Volume 108, June 1992, p. 120.
  56. ↑ Andreas Renholt: “ Painter Prince ” loves self-expression and provocation. (No longer available online.) In: RP Online. Formerly in the original ; Retrieved March 19, 2009 .  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / www.rp-online.de  
  57. ↑ Gerd Korinthenberg: Mozart's naked muse , in: Focus-Online on July 1, 2005
  58. ↑ Susanne Beyer, Ulrike Knöfel: I'm interested in madness . In: Der Spiegel . No. 33 , 2005, pp. 128 ( online ).
  59. ↑ Michaela Schabel: The painter prince waits in Lower Bavaria. In: Bayerische Staatszeitung. October 10, 2008, accessed March 19, 2009 .
  60. ↑ Lüpertz sculpture in Bamberg badly damaged. (No longer available online.) In: RP Online. June 14, 2006, archived from the original on August 31, 2009 ; Retrieved March 19, 2009 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.rp-online.de
  61. ↑ Baz colloquially means wet sand, mud.
  62. ^ Lüpertz, the Bazel artist in Passau. In: media THINK. Media agency Denk, October 8, 2008, accessed on March 19, 2009 .
  63. ^ FAZ , October 13, 2009
  64. ^ Catrin Lorch, Im Malerschützengraben - High tone and empty signs: The ostensible painting by Markus Lüpertz in the Bonn Federal Art Hall . In: Süddeutsche Zeitung , October 17, 2009.
  65. ↑ Durs Grünbein: Lüpertz or Abundance - Why do the realistic sculptures by Markus Lüpertz provoke more than all other contemporary works of art? In: Die Zeit , December 10, 2009.
  66. ↑ Hans-Joachim Müller: And under the steel helmet nothing but emptiness: The avowed genius Markus Lüpertz in Bonn . In: MONOPOL 12/2009
  67. ↑ kuenstlerbund.de: Board members of the German Association of Artists since 1951 ( Memento of the original from December 17, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed November 5, 2015) @1@ 2Template: Webachiv / IABot / www.kuenstlerbund.de
  68. ↑ Franziska Neudert: A master who infects , pragerzeitung.cz , September 22, 2016, accessed on March 17, 2018
personal data
SURNAME Lüpertz, Markus
ALTERNATIVE NAMES Lüpertz
BRIEF DESCRIPTION German painter, graphic artist and sculptor
DATE OF BIRTH April 25, 1941
PLACE OF BIRTH Reichenberg