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FCG International Arts Award 2007: MARKUS LÜPERTZ

 

“For his continuous professional and teaching work in defence of Painting and for his personal creativity in Visual Arts, polychrome in sculptural works and monumental figuration as seen in the homage rendered to Mozart in Salzburg.  He has been a Professor of painting and Rector of the Düsseldorf Academy of Fine Arts since 1986 and is known as a renewer of German painting along with a group known as the “New Wild Ones”.  He is the creator of the murals at the new Chancellery of the German Government in Berlin. His work signifies a return to figurative painting from the world of abstraction in action painting”.

According to the jury that met in Valladolid on June 14, 2007, chaired by: Mrs. Catalina Luca de Tena García Conde; President and Publisher of ABC Newspaper; and made up by the following members: Mr. Kosme de Barañano Letamendía; Art History at Miguel Hernández University in Elche, Mr. Miguel Ángel García Rodríguez; Head of Daily News Programmes (Deputy Director of News Services) at TVE Spanish National Television, Mr. Alberto Gutiérrez Alberca, Director-General of Cultural Promotion and Cultural Institutions of the Castilla León Regional Government [Junta de Castilla León]; and Mr. Francisco Somoza Rodríguez-Escudero; Architect.

 

  

 

 

MARKUS LÜPERTZ- Biography

 

German painter and sculptor.  A representative of new German painting inspired by expressionism, he is a great admirer of the works of Picasso and Matisse, although he does reinterpret in his own way these great masters’ topics. Settling in West Germany in 1963, he set up the Grossgörschen 35 Gallery a year later along with Hödicke and Köberling. During those years, he experimented both with constructivism as well as expressionism and in 1966 he published the Dithyrambus Manifesto, in which he expressed his Dionysial attitude towards life, contrasting with the critical socialism and realism used by this colleagues at the gallery. His stroke is violent and his colours lack any type of seductive power, while his gesture remits to expressionism in its purest form. During the decade of the 1980s he used large-scale formats to manifest his artistic virulence.

 

Markus Lüpertz, is considered one of the most important German artists of his generation; his is a generation of artists that suffered the economic and ideological reconstruction of post-war Germany, a period in which the artistic context was fundamentally international and North American. Along with G. Baselitz, Penck, Inmendorf, Kiefer and the Dane Kirkeby, among others, Lüpertz gave life to an artistic “body” which had the ability to become the great epic poem of the German people during the post-war era. His work is a constant declaration in favour of painting during a time of repeated hostilities and denials. Lüpertz was one of the most outstanding members of the German Group the “New Wild Ones”.

 

In some way, with his work Lüpertz returns to the German tradition of Beckmann’s social realism, trying to find within it his own identity.  During this process, Lüpertz and his generation violently expressed themselves against pop-art, being rejected at the beginning by the art market. Although he sees himself as a painter, at the beginning of the 1980s he extended his work to sculpture and has alternated between that and his painting works since then.

 

Lüpertz’s pieces offer us a multicultural vision and he works, both in painting as well as in bronze, on diverse aesthetic memories (Christian iconography, German embossing, remembrance of abstract expressionism etc).

 

Following the fall of the construction of the history of art through vanguard art, then pop art and minimalism, Markus Lüpertz’s painting is a collection of experiences, quotations and memories, a collection of events, the primary function of which is to dissolve those “histories” into an infinite number of observable sensitive elements.

 

Lüpertz describes memories of something that is found in his inner being. Not memories of happenings, but of the impression and stamp that those happenings have left on his disordered inner being; he creates a link between the past and the present.  Lüpertz doesn’t work with meanings or with meaningful forms, but rather that the spectator must recognise, see and remember by himself the world of the shapes.

 

The artist believes in a form of expression to be found between the abstract and the figurative.

 

Lüpertz’s fantasy is thus the faculty of combining representations and directing and digesting in this way part of the life of the history of art, a non-intellectual sensitive fantasy; he doesn’t look for shapes but for “modes”.

 

Lüpertz is a painter who works in both large and small format; he feels happy within drawing itself: handmade or nib drawings are abundant in his work.

 

His work has an austere character and he shows an interest in the presence of rhythms and rates in each of his interventions, that sense of the physical, the material, the corporal, which distances the works from all narrative consideration.

 

Lüpertz’s painting surges from the Greek philosophy of passion, of the passion of borrowing and representing artistic shapes; from the outset of his painting work, he has tried to conciliate both concepts: the strength of the paintbrush and the adjustment of the composition, harmony.

 

 

Biography and Exhibitions:

 

1941 He was born on 25^th April in Liberec, Bohemia.

 

1942 He emigrated with his family towards the East, to Rheydt, Rheinland.

 

1956-1961 He studied in the Werkunstschule Krefeld along with Laurens Goosen.

We worked as a miner for 1 year; advanced studies in Krefeld and in the Düsseldorf Academy; he travelled to Paris.

 

1962 He moved to Berlin; he started to work comienza on "Dithyrambischen Malerei"

 

1963 He started to work on "Donald Duck Serie"

 

1964 He innaugurated the "Grossgorschen 35 Galerie" with the "Dithyrambisches Malerei" exhibition, founded by him along with K. H. Hoedicke, B. Koberling and L. M. Wintersberg.

 

1966 He published the Manifest: "Kunst, die im Wegge steht, Dithyrambisches Manifest", Grossgorschen 35 Gallery, Berlin; Postdamer Gallery, Berlin.

 

1968 He published the Manifest: "Die Anmut des 20. Jahrhunderts wird durch die von mir erfundene Dithyrambe sichtbar gemacht", Rudolf Springer Gallery, Berlin; Michael Werner Gallery, Berlin; Hake Gallery, Köln.

 

1969 He set up his workshop in Köln. Gerda Bassenge Gallery, Berlin; Benjamin Katz Gallery, House of France, Berlin; Hake Gallery, Köln.

 

1970 He won the Roman Villa Award; he lived in Florence for a year.

 

1971 He won the German Critics’ Association Award.

 

1972 der Spiegel Gallery, Köln.

 

1973 Staatliche Kunsthalle, Baden - Baden; Galerie im Goethe-Institut, Provisionarium, Amsterdam.

He represented the German Federal Republic in the Paris Biennial with the work entitled "Helm I-V-dithyrambisc".

 

1974 He participated in the First Berlin Biennial; the best lecturer and Professor in the Staatllchen Akademie der Bildenden Kunste in Karlsruhe, from 1976 to 1988. He was a Professor in that  same Academy. Michael Werner Gallery, Köln.

 

1975 He Publisher his first poetry collection under the title of "9 x 9"; Michael Werner Gallery, Köln; "M.L.-13 NEUE Bilder", Neuendorf Gallery, Hamburg.

 

1976 Michael Wegner Gallery, Köln; Rudolf Zwirner Gallery, Köln.

 

1977 He undertook the mural for the Berlin crematory; he decided not to participate in the Documenta 6, Kassel; Neuendorf Gallery, Hamburg; Kunsthalle Hamburgo; Michael Werner Gallery, Köln; Kunsthalle Berna; Stedeliijk Van Abbemuseum, Eindhoven.

 

1978 Michael Werner Gallery, Köln; Arte Fiera, Bologne; Heiner Friedrich Gallery, Münich; Helen van der Meij Gallery, Amsterdam; Gillespie-Laage Gallery, Paris.

 

1979 Whitechapel Art Gallery, London; Barry Barker Gallery, London.

 

1979-1980 Kunsthalle, Köln.

 

1980 Michael Werner Gallery, Köln; Helen va der Meij Gallery, Amsterdam; Rudollf Springer Gallery, Berlin; Heiner Friederich Gallery, Munich.

 

1981 He published the poetry collection "und ich spiel, ich spiel...", Riis Gallery, Oslo; Michael Werner Gallery, Köln; Springer Gallery, Berlin; Marian Goodman Gallery, New York; Waddintong Galleries, London; Royal Academy, London. He undertook the first sculptures.

 

1982 Participa en la Documenta 7 de Kassel; diseña el escenario completo para la Ópera " Vincent " por Rainer Kund en la Staatstheater, Kassel; Publica la colección de poemas "Ich stand vor der Mauer aus Glas"; Galería Fred Jahn, Münich; Galería Michael Werner, Colonia; Galería Gillespie-Laage-Salomon, París; Galería Marian Goodman, Nueva York; Galería Springer, Berlín; Galería Reinhard Onnash, Berlín; Stedelijk Van Abbemuseum, Eindhoven.

 

1983 Diseño de escenario para la Opera " Werther " de Jules Massenet en el Teatro Ulmer. Es nombrado Profesor en la Sommerakademie, Salzburgo. Publica la antología de "Geditche 1961-1983 Aushwal"; Museo de Arte Moderno, Estrasburgo; Galerías Waddinton, Londres; Galería Hubert Winter, Viena; Galería Maeght, Zurich; Galería Thaddaus J.Ropac, Salzburgo; Kestner Gelleschaft, Hannover; Daadgalerie, Berlín; Representa a la República Federal Alemana en la XVII Bienal de San Paulo; Galería Michael Werner, Colonia.

Exposición colectiva "Expressions - New Art from Germany", Sant Louis Art Museum.

 

1984 Viaja a Nueva York; Publica "Nueva York Diary 1984" y durante la exhibición en el Wiener Sezesion publica el texto "Bleiben Sie sitzen Heinrich Heine"; Wiener Sezession, Viena; Galería Maeght, Zurich; Galería Michael Werner, Colonia; Galería Springer, Berlín; Mary

Boone/Michael Werner Gallery, Nueva York; Galería Fred Jahn, Munich. Se presenta por 1ª vez en España una selección de sus obras, Caixa de Pensions de Barcelona y Palacio Velázquez, Madrid. Presenta sus esculturas de bronce en la Nouvelle Biennale de París.

 

1985 Galería Ulysses, Viena; Galería Michael Werner, Colonia; Galería Meyer-Ellinger, Frankfurt; Galería Beaumont, Luxemburgo.

 

1986 Catedrático de Pintura en la Staatlichen Kunstakadmie, Düseldorf; Stadtische Galerie im Lenbachhaus, Munich; Galería Maeght Lellong, París; Neuer Berliner Kunstverein, Orangerie, Schlob Charlottenburg, Berlín; Galería Springer, Berlín; Galería Thaddaus J. Ropac, Salzburgo; Galería Maeght Lelong, Zurich; Galerías Waddinton, Londres; Mary Boone/Michael Werner Gallery, Nueva York.

Participa en la exposición Europa - América (La historia de una fascinación artística desde 1940) con motivo de la inauguración del Museo Ludwig, Colonia.

 

1987 Museo Boymans-van Beuningen, Rotterdam; Galería Michael Werner, Colonia; Kunstverein Braunschweig; Galería Beaumont, Luxemburgo.

Nombrado Rector de la Academia de las Artes de Düsseldorf.

 

1988 Participa en la Biennale di Venezia; Galería Due Ci, Artemoderna, Roma; Galería Lelong, Zurich; Kunsthalle zu Kiel und Scheleswig- Holsteinischer Kunstverein, Kiel; Galería Kaj Forsblom, Helsinki; Rena Bransten Gallery, San Francisco.

 

1989 Galería Lelong, París; Obalne Galerije Piran, Ljubljana; Kunstverein Arnsberg, arnsberg; Haus am Waldsee, Berlín; Abbaya Saint-Andre, Centro de Arte Contemporáneo, Meymac Correze; Maximilianverlag, Sabine Kunst, Munich; Galería In Arco, Turín; Galería Michael Werner, Colonia.

 

1989-1990 Trabaja en la elaboración de 15 vidrieras para el coro de la Iglesia Gótica de Nevers, Francia. Presenta la escultura Apollo en la Sala Central de la Ópera de Francfort.

 

1990 Recibe el Premio Lovins Corinth, que otorga la Corporación de Artistas de Esslingen; Deweer Art Gallery, Otegem; Gian Ferrari Arte Contemporánea, Milán; Galería Lelong, Zurich; Mary Boone Gallery, Nueva York; Villa Redentana, Spoleto; Galería Volker Diehl, Berlín; Galería Philippe Guimiot, Bruselas.

1991 Diseño de escenario y vestuario para la Ópera "Der Strum" de Frank Martinen en el Teatro Bremer; Publica el libro "Poemas y

Litografías"; Retrospectiva en el Museo Nacional Centro de Arte Reina Sofía, Madrid; Cleto Polcina Artemoderna, Roma; Galería Michael Werner, Nueva York; Runkel-Hue-Williams Ltd., Londres; Stadisch Galerie im Prinz-Max-Palais, Karlsruhe.

 

1991-1992 Galería Beaumont, Luxemburgo.

 

1992 Galería Springer, Berlín; Galería Lelong, Zurich.

 

1993 Kunstmuseum, Bonn; Museum Ostdeutsche Galerie, Regensburg; Galería Michael Werner, Colonia.

 

1994 Museum Moderner Kunst Stiftung Ludwing, Viena/Palacio Liechtenstein, Viena; Participa en la exposición "Arte Alemán 1964-1994", Galería Thaddaus J. Ropac, Salzburgo; Galería Lelong, Zurich; Kunst und Kunstgewerbeverein Reuchlinhaus, Pforzheim; Centre Cultural Contemporani Sala Pelaires, Palma de Mallorca.

 

1995 La ciudad de Bilbao adquiere la escultura Judith; Stadische Kunsthalle, Mannheim; Stadische Kunstsammlungen, Ausburgo; Gerhard Marcks-Haus, Bremen y Galería der Stadt, Stuttgart; Museo de Arte Moderna, Bozen; Galería Michael Werner, Colonia; Galería Montenay, París.

 

1996 Crea los decorados y el vestuario para la ópera de Verdi "Il Trovatore", en la Deutschen Oper am Rhein en Duisburg y Düsseldorf. Galería Beaumont, Luxemburgo; Kunstsammlung Nordrhein-Westfalen, Düsseldorf; Museo de Arte Moderno, Nueva York; Galería Michael Werner, Nueva York/Colonia; Galería Locks, Philadelphia.

 

1997 Stedelijk Museum, Amsterdam; Museo de Arte Contemporáneo de Monterrey, México; Museo de Picardie, Amiens, Francia; Stadisches Museum, Leverkusen; Bayerische Hypotheke und Wechsel Bank, Munich; "La scultr des peintres", Fundación Maeght, Saint Paul; Galería Fred Jahn, Munich; Maximilianverlag, Sabine Kunst, Munich; Kunsthalle der Hypo-Kulturstifung, Munich; Museum in der Alten Post, Mulhiem an der rurh.

 

1997-1998 Galería Michael Werner, Colonia/Nueva York; Neue Galerie der Stadt, Linz; Knoedler & Co., Nueva York.

 

1998 The Lowe Gallery, Atlanta; Von der Heydtmuseum, Wuppertal

 

1999 Comienza el ciclo "Vanitas", que se presenta por primera vez en la Zeche Zollverein, Essen.

 

2000 Galería Michael Werner, Colonia; Sabine Kunst Galerie & Maximilian Verlag, Munich; Galería Michael Schultz, Berlín; Presentación de 11 pinturas "Vesper "en el marco de la exposición colectiva Lost paradise lost, Kunst und sakraler Raum, Hannover.

 

2001 The Lowe Gallery, Atlanta; Stadische Museum, Jena; Neue Galerie im Höhmannhaus, Stadtische Kunstsammlungen, Ausburgo

 

2002 Retrospectiva en el Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, Valencia;

 

2004 Realiza los Murales de la Cancillería o Palacio del Presidente de la República Alemana.

 

2005 Realiza el Monumento a Mozart en la ciudad Austriaca de Salzburgo.

 

Actualmente vive y trabaja en Berlín y Düsseldorf.