Markus Lüpertz belongs to a generation of painters who were the first to confront the authoritarian atrocities after the Second World War. Lüpertz’s childhood was spent in Liberec, then called Reichenberg under the terms of the 1938 Munich Agreement when the former Czechoslovakia had fallen under governance by the National Socialist Party. The artist immigrated with his family to West Germany a decade later, at the age of seven. In his drawings and paintings of the 1960s, Lüpertz isolated forms and elements in poetic arrangements that recalled the propagandistic use of images by the Nazis, as well as the opening credits of motion pictures. In Idylle IV (1969), the side detail of wooden slats along train tracks is arranged above and adjacent to the entryway of a train tunnel below. Ignoring traditional rules governing representational composition and scale, Lüpertz transforms the industrial details into a powerful assemblage evoking military rigor and compliance.