Markus Lüpertz ”4 KREUZE DITHYRAMBISCH”. 1972

Distemper on canvas. 190 × 250 cm (framed: 200 × 260 cm) (74 ¾ × 98 ⅜ in. (framed: 78 ¾ × 102 ⅜ in.)). Monogrammed lower right: ML. Signed, titled and dated on the stretcher: Markus Lüpertz / 4 KREUZE DITHYRAMBISCH 1972. Same place labels of the collection Essl (see below), the Albertina, Vienna, of Galerie Michael Werner, Cologne, as well as a transport label by the Moscow exhibition 1983/84 (see below). [3188] In artist's frame, Distemper on canvas. 190 × 250 cm (framed: 200 × 260 cm) (74 ¾ × 98 ⅜ in. (framed: 78 ¾ × 102 ⅜ in.)). Monogrammed lower right: ML. Signed, titled and dated on the stretcher: Markus Lüpertz / 4 KREUZE DITHYRAMBISCH 1972. Same place labels of the collection Essl (see below), the Albertina, Vienna, of Galerie Michael Werner, Cologne, as well as a transport label by the Moscow exhibition 1983/84 (see below). [3188] In artist's frame, Galerie Michael Werner, Cologne / Essl Collection, Klosterneuburg near Vienna / Private collection, Rhineland (on long-term loan to the Albertina, Vienna, 2021–26), Galerie Michael Werner, Cologne / Essl Collection, Klosterneuburg near Vienna / Private collection, Rhineland (on long-term loan to the Albertina, Vienna, 2021–26), Exhibition: Markus Lüpertz. Hamburg, Kunsthalle, 1977 / the Dog stößt in the Laufe the Woche zu mir. Stockholm, Moderna Museet, 1981 / Markus Lüpertz. Paintings 1970–1974. Cologne, Galerie Michael Werner, 1984 / Markus Lüpertz. Meymac, Abbayé Saint-André, 1989, ill. 50 / Markus Lüpertz – Retrospectiva 1963–1990. Madrid, Centro de Arte Reina Sofia, 1991, cat. no. 22, ill. p. 57 / Markus Lüpertz. German motifs. Galerie Michael Werner, Cologne, 1996, cat. no. 6th literature: Friedhelm Mennekes und Johannes Röhrig (Hg.): Crucifixus. The cross in the Kunst our time. Freiburg/Basel/Vienna, Herder, 1994. Ill. p. 96 / collection Essl Privatstiftung (ed.): Sammlung Essl - the first view. Cologne, DuMont, 1999. Ill. p. 81 / Siegfried Gohr: Markus Lüpertz. Cologne, DuMont, 2001, no. 54, ill. 59 / Siegfried Gohr: Markus Lüpertz. Barcelona, Polígrafa, 2001, no. 54, ill. 59 / exh. cat.: Baselitz to Lassnig. Meisterhafte paintings. Vienna, Essl Museum, 2008, ill. p. 82/83 / María Carolina Andrada Páez: El paisaje en la obra de Markus Lüpertz. Diplomarbeit, Elche, Universidad Miguel Hernández, 2010, ill. p. 83 / María Carolina Andrada Páez: Paisaje, Naturaleza y Construcción en la Obra de Markus Lüpertz. Dissertation, Elche, Universidad Miguel Hernández, 2015, ill. p. 296 / exh. cat.: Rendezvous - Meisterwerke from the collection Essl. Essl Museum, Klosterneuburg, 2016, ill. p. 114 / Klaus Albrecht Schröder and Elisabeth Dutz (ed.): The Essl Collection. Albertina modern. 200 Meisterwerke. Vienna, Albertina, 2021. Ill. p. 141, Markus Lüpertz. Bilder, Gouachen und Zeichnungen 1967–1973. Baden-Baden, Staatliche Kunsthalle Baden-Baden, 1973, ill. p. 47 (“Vier Kreuze III Dithyrambisch”) / Mensch und Landschaft in der zeitgenössischen Malerei und Graphik. Düsseldorf, Kunstverein für die Rheinlande und Westfalen; Moscow, Central House of Artists; St. Petersburg (Leningrad), Manege Central Exhibition Hall, 1983/84, ill. p. 53 (“Vier Kreuze – dithyrambisch III”) / Markus Lüpertz. Sint-Martens-Latem, Belgium, Museum Dhondt-Dhaenens, 2005 / Deutsche Kunst nach 1960. Ausgewählte Werke der Sammlung Essl. Klosterneuburg near Vienna, Essl Museum, 2015 / The Essl Collection. Vienna, Albertina, 2020/21, ill. p. 141 (“Vier Kreuze – dithyrambisch III”) / Wonderland. Vienna, Albertina, 2021, Exh. cat.: Markus Lüpertz. Hamburg, Hamburger Kunsthalle, 1977, ill. p. 68 / Exh. cat.: Markus Lüpertz. Dithyrambische and Stil-Malerei. Bern, Kunsthalle Bern, 1977, ill. / Exh. cat.: Markus Lüpertz. Rezeption – Paraphrasen. Karlsruhe, Städtische Galerie im PrinzMaxPalais, 1991, pp. 63/64, ill. (“Vier Kreuze III – dithyrambisch”) / Exh. cat.: Markus Lüpertz. Vienna, Museum moderner Kunst Stiftung Ludwig Wien, 1994, pp. 29/30, ill. Myth, Form and Provocation – Markus Lüpertz’s "4 Kreuze dithyrambisch" When Markus Lüpertz began describing his paintings as “dithyrambic” in the mid-1960s, he was developing a distinctive artistic programme. The term refers to the dithyramb, an ecstatic hymn originally dedicated to the god Dionysus, as well as to Friedrich Nietzsche’s treatise “The Birth of Tragedy”. Lüpertz transferred the idea of an exuberant, creative form of expression to painting, which was not simply to depict reality but to transform it into an autonomous pictorial order. In the dithyrambic paintings, crosses, tents, snails, ears of wheat, fields and helmets become emblematic motifs, detached from their natural contexts. Their impact arises from the tension between simplification and monumentality. Repetition plays a central role: varying a motif so frequently that the original and its repetitions become almost indistinguishable emerges as a fundamental principle of Lüpertz’s practice. In our painting “4 KREUZE DITHYRAMBISCH” (4 Crosses, Dithyrambic), he explores this approach through a form whose clear outline and manifold cultural associations make it particularly striking. Comparable serial structures can also be found in groups of works from the early 1970s, including the “Helme” (Helmets) and “Geweihe” (Antlers) series. Many paintings from this period are characterised by a reduced palette of green, blue, yellow and brown. Rather than reflecting the natural properties of the objects depicted, these colours emphasise their autonomy as pictorial elements. In 1968, Lüpertz confidently summarised his artistic programme in the title of his exhibition at Galerie Springer in Berlin: “The grace of the twentieth century is made visible through the dithyramb I have invented.” Rather than turning away from traditional pictorial motifs, Lüpertz draws on forms associated with history, power and national identity. He removes them from their familiar contexts, lending them a disconcerting, at times almost bombastic presence. The crosses in our painting, too, resist any unambiguous symbolic interpretation. Their impact instead derives from the interplay of perspective, arrangement and colour, which lends them a distinctive sculptural tension. In 1972, Lüpertz was still a young artist, exploring the possibilities of painting with an evident delight in contradiction. He combined monumental forms with meanings that remained open and indeterminate, challenging the visual conventions of his time. His engagement with historically charged motifs and supposedly “German” themes gives his painting particular resonance. Symbols and myths are invoked without their meanings being definitively fixed. The result is a visual language that oscillates between pathos and estrangement, tradition and abstraction. MvL

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