ARTISTS / Art after 1945
Lambert Maria Wintersberger

Split 13 (The Buick)
© Lambert Maria Wintersberger / VG Bild-Kunst, Bonn

Lambert Maria Wintersberger

Spaltung 13 (Der Buick) / Split 13 (The Buick), 1969

Dispersion paints on nettle
170 × 175 cm

signed, dated and titled on the reverse: L. M. Wintersberger Spaltung 13 (Der Buick) 69 Provenance: Private collection, Baden-Wuerttemberg

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For the first time, Lambert Maria Wintersberger, who had lived in Berlin since 1964 and partly shared a studio with Markus Lüpertz, attracted public attention with works in which he combined seemingly unrelated elements or body parts simplified beyond recognition in a smooth application of paint on the picture surface. In the 1970s, Wintersberger's increasingly bold cut-outs, combined with image motifs that deliberately cause alienation in their collage-like linking, repeatedly caused a stir, also because of the sometimes disfigured-looking bruising of limbs. As a motif of the work "Spaltung 13" ("Cleavage 13"), which was created as early as 1969, one recognizes the plastically carved upper finger limb, which has been dissected into three individual parts. Here a serious disfigurement is illustrated, but at the same time exaggerated in a painterly and perfected manner. The evenly matted dispersion paints, applied without any discernible brushstroke, reflect a flawlessly radiant exterior, which as a result covers up the thematic component of pain like makeup. With this work Wintersberger succeeds in a memorable way in bringing the opposites to simultaneous development and in helping the supposedly "painful" expression not only to neutralize, but virtually to "painless" aestheticization. The attached title "Buick" refers to the successful luxury automobile brand of the same name at the end of the 1960s and 1970s. The fact that Wintersberger alludes to such a commodity, which has been upgraded to a status symbol, brings him close to the well-known post-war avant-garde artist Konrad Klapheck, who in his object painting preferred to use technical devices, machines and apparatuses from the everyday world as subjects worthy of art and to recompose or alienate them in an unusually exaggerated and hyper-realistic painting style. Lambert Maria Wintersberger's work "Injury," also created in 1969 and comparable in both quality and ambivalent expressiveness, is now in the National Gallery in Berlin.
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