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Elf and the dancing bear,
2024
by Markus Lüpertz
Sculpture : bronze
45 x 20 x 20 cm 17.7 x 7.9 x 7.9 inch
€19,000
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About the artwork
Type
Numbered and limited to 10 copies
1 copy available
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Sculpture: bronze
Dimensions cm • inch
45 x 20 x 20 cm 17.7 x 7.9 x 7.9 inch Height x Width x Depth
Display
The sculpture cannot be displayed outdoors
Tags
Artwork sold in perfect condition
Artwork location: Germany
Markus Lüpertz’ bronze sculpture “The Eleven and the Dancing Bear” is based on a graphic from 1881 by the artist Max Klinger. Max Klinger was a German sculptor, painter and graphic artist whose work is primarily associated with Symbolism.
Markus Lüpertz’s bronze sculpture, is a mesmerizing testament to the artist’s profound exploration of mythological themes and the human condition. Crafted with masterful precision and imbued with symbolic depth, this sculpture captivates viewers with its enigmatic narrative and dynamic composition.
Standing tall and proud, the figure of the elf exudes an otherworldly aura, evoking the timeless archetype of the mystical forest dweller. With elongated limbs and a graceful stance, the elf exudes a sense of ethereal grace, as if poised between the realms of reality and fantasy. Adorned with intricate details, from flowing robes to delicate facial features, the sculpture invites closer inspection, revealing layers of meaning beneath its surface beauty.
At the elf’s feet, the dancing bear adds a whimsical yet profound element to the composition. Symbolizing strength, vitality, and untamed nature, the bear embodies primal instincts and raw energy. Its joyful dance captures a moment of pure exuberance, inviting viewers to embrace the joy and spontaneity of life. Yet, beneath the surface, there is a deeper resonance to this pairing of elf and bear, hinting at themes of harmony, balance, and the interplay between civilization and the wilderness.
Through “Elf and the Dancing Bear,” Lüpertz invites viewers on a journey into the realm of myth and imagination. Drawing upon ancient legends and archetypal imagery, the sculpture speaks to universal truths and eternal mysteries. With its timeless beauty and rich symbolism, it serves as a poignant reminder of the enduring power of art to inspire, provoke, and enchant.
In art, the symbolism of an elf paired with a dancing bear carries profound and multifaceted meanings that resonate across cultures and epochs. At the heart of this symbolic union lies a rich tapestry of themes ranging from nature’s majesty to spiritual transcendence, from harmonious balance to narrative allegory.
Central to this imagery is the dichotomy between civilization and the untamed wilderness, embodied respectively by the elf and the dancing bear. The elf, steeped in folklore and myth, represents humanity’s connection to the natural world, often depicted as a guardian of forests and a conduit to mystical realms. In contrast, the dancing bear symbolizes the primal forces of nature, exuding strength, vitality, and an unbridled energy that speaks to the raw essence of existence.
Yet, within this apparent dichotomy lies a deeper truth of complementary forces converging in harmony. The graceful presence of the elf, with its ethereal beauty and otherworldly aura, finds balance in the exuberant dance of the bear, whose joyous movements echo the rhythmic cadence of life itself. Together, they embody a symbiotic relationship between humanity and nature, suggesting a profound interconnectedness that transcends the boundaries of species and civilizations.
Moreover, the pairing of an elf and a dancing bear invites contemplation of broader thematic narratives. Through allegory and symbolism, artists weave tales of friendship, cooperation, and resilience, inviting viewers to embark on a journey of exploration and discovery. Each viewing becomes an opportunity to unravel the layers of meaning within the artwork, to find resonance with personal experiences, and to glimpse the universal truths that lie at the heart of human existence.
In essence, “Elf and the Dancing Bear” and artworks of its ilk serve as portals to the collective imagination, inviting us to ponder the mysteries of life, the wonders of nature, and the timeless dance of existence. Through their symbolic imagery and evocative narratives, they inspire us to embrace the beauty of diversity, the harmony of opposites, and the boundless possibilities of the human spirit.
Markus Lüpertz, a prominent German artist known for his neo-expressionist style, and Max Klinger, a German symbolist painter and sculptor from the late 19th and early 20th centuries, may not have had a direct personal connection, as they lived in different time periods. However, their artistic legacies and perhaps thematic similarities might draw comparisons or influence.
Klinger was a significant figure in the Symbolist movement, which sought to express abstract or spiritual ideas through art. He was known for his use of symbolism and mythological themes, often exploring the subconscious and fantastical realms in his work. One of his most famous works is the series of etchings titled “Paraphrase on the Finding of a Glove,” which tells a story through symbolic imagery.
Lüpertz, on the other hand, emerged as a leading figure in the German neo-expressionist movement of the late 20th century. His paintings are characterized by bold, gestural brushwork and often incorporate mythological or historical motifs. Lüpertz’s work reflects a fascination with Germanic mythology and a desire to engage with the grand tradition of Western art.
While there may not be a direct connection between the two artists, Lüpertz’s interest in mythology and symbolism could be seen as a continuation or reinterpretation of themes explored by Klinger and other Symbolist artists. Both artists share an interest in using art to convey deeper meanings and explore the human experience, albeit in different historical and cultural contexts.
About the seller
FRANK FLUEGEL GALERIE • Germany
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Presentation
When he was seven years old, Markus Lüpertz came with his family to Germany. From 1956 to 1963 he studied in the class of Laurens Goosens at the art school in Krefeld and at the Academy of Arts in Düsseldorf. In 1962 Lüpertz moved to West Berlin, where he founded the self-help gallery 'Großgörschen 35' with Bernd Koberling and Karl Horst Hödicke.
Markus Lüpertz started to paint pictures with simple representational contents against all contemporary tendencies towards abstraction. In a manifesto of 1966, he titled his emphatically expressive pictures 'dithyrambische Malerei' - after an ancient Greek ritual song for the fertility god Dionysos. In the years 1969 until 1977 he created the 'German motives' - picture compositions in the form of still lives that present symbolic objects of the past such as steel helmets, shovels or flags in monstrous dimensions and demand to come to terms with German history.
In 1970 Lüpertz received the prize of the Villa Romana and spent the year of his scholarship in Florence. In 1976 he accepted a chair at the academy in Karlsruhe. Since 1977 he took up abstract tendencies of the 1950s in his 'Stil-Bildern'. In the same year the Kunsthalle in Hamburg presented a first survey of his oeuvre, followed by the Kunsthalle in Bern and the Stedelijk Van Abbe museum in Eindhoven. He gave up the increasing abstraction in his pictures in favour of a new representational and three-dimensional style, in which he applied art-historical quotations and style elements. Lüpertz uses all printing techniques, works as a poet and, since 1980, as a sculptor and stage designer.
In 1982 he took part at the documenta VII in Kassel. In 1986 he was offered a chair at the Academy of Arts in Düsseldorf, which he heads as principal since 1988. Lüpertz received the Lovis-Corinth prize of the artist guild Esslingen in 1990. Important individual exhibitions were dedicated to his oeuvre. A work show arranged according to subject was organized at the Art Collection North-Rhine-Westphalia in Düsseldorf in 1996 and a retrospective exhibition at the Kunsthalle of the Hypo-Culture Foundation in Munich in 1997, which was later presented in Wuppertal and Barmen. In 1997/98 his works were represented at the exhibition "Deutschlandbilder: Kunst aus einem geteilten Land" in the Martin-Gropius building in Berlin.
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