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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 Roman Catholicism. Lüpertz created his first paintings around In contrast to the prevailing abstract tendencies 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 forms. In his painting he combined contradictory motifs.
As a palpable ambiguity, he incorporated the doubts of modernity into tradition into his pictorial constructions and sought the way out of the then overpowering abstraction.
In he developed his "dithyrambic painting" in Berlin and began the Mickey Mouse series and a year later the Donald Duck series.
In , he held his exhibition of the "Dithyrambic Paintings", term taken from Friedrich Nietzsche. In this paintings, Lüpertz combined the opposites of objectivity and abstraction into a synthesis.
Lüpertz sees the picturesque universe shaped by a continuous rhythm to which everything is subordinated.
He published his "Dithyrambic Manifesto", in , followed by a second manifesto titled "The Grace of the Twentieth Century", in From to , he painted predominantly German motifs, namely symbolic objects such as steel helmets, shovels, flags or monumental antlers in large formats.
The paintings were executed in earthy colors and thematized the unmanaged German national pathos, where unfortunate memories of the Third Reich era were evoked.
This phase was followed by another one, from to , based on the abstract painting of the s. His paintings from this period are almost completely free from motives, the play with surface and volume-forming forms and the richness of the picturesque surface are used fruitfully.
These tendencies ended in favor of a new objectivity and spatiality. From to , Lüpertz devoted himself to reinterpret, among others, the works of masters like Jean-Baptiste Camille Corot and Nicolas Poussin.
According to art historian Siegfried Gohr: "When Lüpertz invokes Poussin, it means finding new rhythms for the image body, or, as Poussin said, the tableau, which can only then be interpreted in terms of content.
Not realism, but a strict artificiality arises from this strategy, a painting parallel to nature and at one's own time ". Among his best known works are the series of pictures Men without women - Parsifal , created from to In this extensive series, Lüpertz adhered to a single theme: the frontal male face, often depicted as crying.
Parsifal refers to the hero of the last opera of Richard Wagner , the female temptation and salvation in a man's world. At the same time, the theme can be associated with the loneliness of the painter in the studio.
From , he started doing landscape paintings, which contrast with his previous work and are characterized by a fleeting composition.
In , he created the cycle Vanitas , and the following year, the cycle Vesper. On the monochrome paintings nothing is visible except colors.
Lüpertz main source of inspiration was the Iconologia by Cesare Ripa , since he drew on ancient iconological concepts that assigned the colors of the ruler's virtues.
Lüpertz has cultivated sculpture and designed stage sets since Among his most famous works are the figure of Apollo for a niche in the Alte Oper in Frankfurt , from , the bridge sculpture The Ugly Scares the Beauty , in Karlsruhe , The Fallen Warrior , a three meters long bronze sculpture of a fallen warrior with helmet and shield, inspired by an ancient Greek sculpture, in the Berlin Kantstrasse, an ensemble of three sculptures for the park of Schloss Bensberg , The Philosopher , a bronze nude sculpture created for the foyer of the new Berlin Chancellery, in , and a sculpture of Apollo, inaugurated in the Elisabethenplatz in Bamberg , in In addition to his work as a painter and sculptor, Lüpertz is also a Free Jazz musician, including the piano.
Occasionally he gives concerts together with professional musicians. He also created and publishes the art and literary magazine Frau und Hund , since , in which he publishes his own poetry and prose texts.
Two editions of the magazine have appeared in other languages Signora e cane , in Italian, and Femme et Chien , in French.
From Wikipedia, the free encyclopedia. Markus Lüpertz. Artist Puts Hercules, and Himself, on Pedestals. The New York Times.
Lüpertz, Markus. Grove Art Online. Acquired from the above by the present owner in Hamburg, Hamburger Kunsthalle, Markus Lüpertz , , no.
This exhibition later travelled to Stuttgart, Staatsgalerie Stuttgart. With a few, thick brushstrokes Lüpertz indicates a vine, while the background is a criss-cross of painterly grey.
Lüpertz, interview with H. Neuendorf, Artnet News , June 5, Taking familiar motifs such as grapes, sheaves of wheat, or antlers, Lüpertz depicted them in a monumental format with an inconclusive viewpoint, subsuming and dissolving the everyday objects into a dance of primary shapes.
Gohr, Markus Lüpertz , Barcelona, , p. Artist's Resale Right "Droit de Suite". Artist's Resale Right Regulations apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
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