Markus Lüpertz, Jason - Anführer der Argonauten, 2006, Bronze sculpture, painted, H 78 cm, L 40 cm W 35 cm, Edition 6 / 6 <br> © VG Bild-Kunst, Bonn Photo: Achim Kukulies <br> <br> Markus Lüpertz (b. 1941 in Reichenberg) ranks among the outstanding German artists of the present. His works in between figuration and abstraction are ascribed to Neoimpressionism. <br> <br> One of the most prominent acquisitions in recent years for the Heuking Kühn Lüer Wojtek collection is the monumental bust “Jason - Anführer der Argonauten.” Jason, the rightful successor to the throne of Thessaly, is challenged by Pelias, the son of Poseidon, to bring the famed Golden Fleece to his homeland as a precondition for becoming King. Jason confronts this overwhelming task, knowing full well that he has an extremely small chance of returning alive. <br> <br> Based on the ancient archetype, Lüpertz paints the bronze and represents the hero Jason with a shrewd countenance. The highly concentrated, intense gaze reveals Jason’s resolve and youthful zest for action to obtain, at any cost, the Golden Fleece that will make its owner invincible.

Markus Lüpertz, Untitled (Herkules), 2010, Crayon, charcoal and watercolor on paper, 42 x 29,5 cm <br> © VG Bild-Kunst, Bonn Photo: Achim Kukulies <br> <br> Markus Lüpertz (b. 1941 in Reichenberg) ranks among the outstanding German artists of the present. Contrary to all contemporary trends towards abstraction, Lüpertz has started painting images featuring objects since the beginning of the 1960s.<br> <br> For the development of the Hercules theme, a multitude of drawings of the legendary Greek hero were generated. Lüpertz completely foregoes the typical Hercules attributes here and shows us his face head-on. In contrast to the customary Hercules portrayals, which accentuate his militant exploits, we see here a psychological portrait of a despairing hero. With his Hercules interpretation, Lüpertz broadens the heroic status by granting weakness, and thus a human dimension, to his Hercules.

Markus Lüpertz, Hermes (rot), 2015, Etching, 94 x 70 cm <br> © VG Bild-Kunst, Bonn Photo: Achim Kukulies <br> <br> Markus Lüpertz (b. 1941 in Reichenberg) ranks among the outstanding German artists of the present. His works in between figuration and abstraction are ascribed to Neoimpressionism.<br> <br> Hermes, the messenger of the gods, is represented in the classical Greek manner as youthful and beardless, with a winged helmet. His immense head can be seen in a three-quarter view before a red background. In a few powerful strokes, Lüpertz has characterized Hermes. The extraordinary thing about this is that he gazes at the observer with one eye, despite the profile depiction. Lüpertz addresses the theme of Hermes’ authentic appointment to bear the message of the gods to the dead.

Jörg Immendorff, Untitled - rotes Pferd, Affe, Rad, 2002, Silkscreen on hand-made paper, 60 x 50 cm <br> © The Estate of Jörg Immendorff Photo: Achim Kukulies <br> <br> Jörg Immendorff (b. 1945 in Bleckede, d. 2007 in Düsseldorf), along with Markus Lüpertz and Georg Baselitz, belongs to the trailblazers of the New Wild and Fierce Painting movements that made a lasting impression on the German art scene at the beginning of the 1980s. He first studied stage design at the Düsseldorf Academy of Arts, and later studied free art with Joseph Beuys.<br> <br> Immendorff‘s admiration for his teacher is reflected in his art through humorous manipulation of this special relationship. What the rabbit represented for Joseph Beuys is represented by the motif of the ape for Jörg Immendorff; it is drawn through his work like a golden thread. <br> <br> Immendorff has portrayed himself, as he so often does, as a painter-ape with a paintbrush. The ape riding on the horse takes center stage in his graphic work “Untitled – rotes Pferd, Affe, Rad” The horse appears to stroll into the picture unfazed by events, and is silhouetted in high contrast before a luminously ocher-orange background. The ape appears timid and lost on the horse. In an interview, Immendorff said, “For me, the ape was and is simply a second self. Symbol for the ambivalence of the artist’s existence, of conviction and self-doubt. He is absurd and wise, and stands for polar opposites.” (Immendorff in conversation with Pamela Kort, 1992)

Jörg Immendorff, Alter Ego - Das andere Ich, 1995, "Der Bildhauer im Maler ist sein bester Feind", Bronze with green-brown patina, divided, the inside polished, Total 38,5 x 26 x 36,6 cm, Edition 980 <br> © The Estate of Jörg Immendorff Photo: Achim Kukulies <br> <br> Jörg Immendorff (b. 1945 in Bleckede, d. 2007 in Düsseldorf), along with Markus Lüpertz and Georg Baselitz, belongs to the trailblazers of the New Wild and Fierce Painting movements that made a lasting impression on the German art scene at the beginning of the 1980s. He first studied stage design at the Düsseldorf Academy of Arts, and later studied free art with Joseph Beuys. <br> <br> Immendorff‘s admiration for his teacher is reflected in his art through humorous manipulation of this special relationship. What the rabbit represented for Joseph Beuys is represented by the motif of the ape for Jörg Immendorff; it is drawn through his work like a golden thread.<br> <br> The split sculpture “Alter Ego - Das andere Ich” is concerned with the bipolarity and contrariness of man. Engraved on the side of the pedestal are the texts “The sculptor in the painter is his best enemy” and “Alter Ego” - an obvious reference to the two sides of the artist. The two separate halves of the sculpture symbolize Immendorff’s pictorial and sculptural work and allow themselves to be joined into an artistic unity.

Jörg Immendorff, Alter Ego - Das andere Ich, 1995, "Der Bildhauer im Maler ist sein bester Feind", Bronze with green-brown patina, divided, the inside polished, Total 38,5 x 26 x 36,6 cm, Edition 980 <br> © The Estate of Jörg Immendorff Photo: Achim Kukulies <br> <br> Jörg Immendorff (b. 1945 in Bleckede, d. 2007 in Düsseldorf), along with Markus Lüpertz and Georg Baselitz, belongs to the trailblazers of the New Wild and Fierce Painting movements that made a lasting impression on the German art scene at the beginning of the 1980s. He first studied stage design at the Düsseldorf Academy of Arts, and later studied free art with Joseph Beuys. <br> <br> Immendorff‘s admiration for his teacher is reflected in his art through humorous manipulation of this special relationship. What the rabbit represented for Joseph Beuys is represented by the motif of the ape for Jörg Immendorff; it is drawn through his work like a golden thread.<br> <br> The split sculpture “Alter Ego - Das andere Ich” is concerned with the bipolarity and contrariness of man. Engraved on the side of the pedestal are the texts “The sculptor in the painter is his best enemy” and “Alter Ego” - an obvious reference to the two sides of the artist. The two separate halves of the sculpture symbolize Immendorff’s pictorial and sculptural work and allow themselves to be joined into an artistic unity.

C.O. Paeffgen, Hosenträger, 1990, 43 x 43 x 10 cm, Mixed Media (wood/color) <br> © VG Bild-Kunst, Bonn Photo: Achim Kukulies <br> <br> The central subject matter of the painter, found object artist and graphic artist Claus Otto Paeffgen (b. 1933 in Cologne) is the seemingly banal and mundane. Ten years following his study of the law, in the 1960s, he begins to devote himself to painting. He simultaneously begins to collect found objects and modify them in ironic and humorous ways. Starting in the 1980s, Paeffgen has been represented in the most important international exhibits.<br> <br> The piece “Hosenträger” consists of fruit crates without their undersides. Two thin, red vertical slats are mounted over the transversal slats that have been painted a soft pink. The newly created ensemble reminds one of a striped top with red suspenders. Paeffgen is fascinated by the irregular and rhythmic pattern surfaces of his finds. Based on the classic charm of the objets trouvés, Paeffgen uses humorous name choices to transpose his objects into ambiguity.

C.O. Paeffgen, Roter Mond über viermal Liebe, 1985, Color offset on cardboard, 50,5 x 70,5 cm, Edition 40 / A.P. <br> © VG Bild-Kunst, Bonn Photo: Achim Kukulies <br> <br> The central subject matter of the painter, found object artist and graphic artist Claus Otto Paeffgen (b. 1933 in Cologne) is the seemingly banal and mundane. Ten years following his study of the law, in the 1960s, he begins to devote himself to painting. He simultaneously begins to collect found objects and modify them in ironic and humorous ways. Starting in the 1980s, Paeffgen has been represented in the most important international exhibits.<br> <br> The moon, mouse, heart with or without an arrow, bow, and question mark motifs appear again and again in C.O. Paeffgen’s oeuvre. The graphic work “Roter Mond über viermal Liebe” presents four blue hearts with arrows and a red half moon. The typical color scheme of red, white and blue crops up in his graphic artworks, as it does in his objects. Quotes from everyday life playfully summarize the recurring motifs with stereotypical imagery.

El Bocho, Citizen in Love, 2008, Acrylic on canvas, 250 x 200 cm <br> © artist Photo: Achim Kukulies <br> <br> The artist El Bocho (b. 1978 in Frankfurt am Main), who lives in Berlin, actualizes most of his works on the walls of houses, where he affixes images that have been prepared in the studio. Often, the subject is human figures whose contours he has cut out, and the figures thereby assume a close visual connection with their surrounding areas. Script is also used here. El Bocho's preferred subjects are large format portraits of women, which are also presented in mixed media on canvas in galleries. The picture acquired for the collection – a “chance acquaintance” of Dr. Wolfgang Kühn from Berlin – speaks of an inner fragility, with its tremulous lines that contour the face of the young woman. She is virtually a modern “femme fragile.” The graphic style and even the type of woman remind one of the alternative culture of the late 1960s and early 70s, which is popular again today and also lends the picture a nostalgic flavor. (Thomas W. Kuhn, From: Catalogue 2011)

Susanne Kamps, Bamus-Tryptichon, 1998, Oil on canvas, 162 x 152 cm <br> © artist Photo: Achim Kukulies <br> <br> Susanne Kamps (b. 1967 in Münster) studied painting from 1996 to 2001 at the Academy of Art in Münster. In her works, she concerns herself with the history of modernity.<br> <br> The oval table forms the central point of the painting “Bambus-Tryptichon.” The background consists of subtle colors with arabesque elements. The composition is fringed on the sides by bamboo stalks before a black background. The artist harkens back to Matisse with respect to color and also motif. As was the case for her role model, color is the absolute design medium of the stand-alone visual space. Representational themes are constrained two-dimensionally in a foreshortening of perspective, so that a decorative effect dominates the whole picture.