Untitled

In the 1970s, Markus Lpertz embarked on a new series of paintings in which he examined architecture in terms of its formal, sculptural properties. As a result, these works often fluctuate between figuration and abstraction. He frequently attached to the titles of his paintings at the time the adjective 'dithyrambisch'. The term 'dithyramb' has its roots in classical Greek, and was used by Aristotle to refer to a specific literary form that combined the features of rhythm, music and verse. Friedrich Nietzsche employed the term 'Dithyrambos' in his own writings in reference to the god Dionysos. In 1966, finally, Lpertz began using the term as a kind of manifesto: "When I came upon the term Dithyramb, I was searching for an idea, a concept, which would clearly demonstrate to the public my strong interest in philosophy." (In: 'Markus Lpertz. Rezeptionen-Paraphrasen', Karlsruhe 1991, p. 61.) On a more grand level, he also boasted: "The grace of the 20th century is made visible through the Dithyramb invented by myself." (In: 'Markus Lpertz. Zeichnungen 1978-1983', Berlin 1983, p. 5.)
By presenting skyscraper-like forms from an extremely high perspective, as though the viewer were standing above the buildings looking down at them, Lpertz achieved an effect that is both dramatic and alienating at the same time. These strange buildings have no emotive impact. They are curious structures, both architectonic and organic. The artist's palette is reminiscent of camouflage, connecting these works with his series of military themes produced at about the same time. Khaki green, yellow and ambre predominate. Painting is thus triumphant over any narrative aspects inherent in the objects portrayed.