SELECTED NEW PAINTINGS

Let me spotlight some new paintings. Of course just a subjective selection and incomplete (for a complete overview of my oeuvre please have a look at the PAINTING GALLERY). I am deeply grateful that I’ve got the ability to paint in my strong poetical way and with a clear recognition value.

 

 

LATE IN THE SUMMER
triptych 2018 (three studies)
vertical hanging (on top of each other): 120 (w) x 250 (h) x 2 cm
optional horizontal hanging (side by side): 380 (w) x 80 (h) x 2 cm
acrylic and oil on canvas

The three paintings in a landscape format are different studies for a giant painting that I’ve realized after two very creative and challenging months in summer 2018. All three studies (and the giant painting) focus on the same message and tell something about the melancholical feelings in late summer when the wind changes and suddenly there are first clouds in our blue sky. We don’t want the summer and sunny light to end but late summer turns to autumn, and the winter is just a question of time. It’s a slow process with countless steps from the light into the dark. The sun already descents but we want to resist, we want to stop the run of the sun, and if it’s only for a little while. But we are no gods. We are not immortal. And hope and love are the answers that help us through darker hours. We smile and kiss and drink and remember Dylan Thomas: we don’t go gentle into that good night. There is no real final, we are just a small part of the circle.

* * *

This trilogy contains 3 single paintings, each in acrylic and oil on canvas and each with dimensions of 120 (w) x 80 (h) x 2 cm. The triptych offers two very different hanging possibilities:(a) vertical hanging on top of each other: beautiful and very creative hanging method if you have enough ceiling height. If so I prefer a hanging distance each of 5 cm between the 3 single paintings.In that case the complete dimension, including the hanging space between the three paintings: 120 (w) x 250 (h) x 2 cm. (b) horizontal hanging side by side: traditional but also beautiful hanging method of the triptych. If so I prefer a hanging distance each of 10 cm between the 3 single paintings. Complete dimensions of this artwork, including the hanging space between the single paintings: 380 (w) x 80 (h) x 2 cm. The triptych combines following studies and should „read“ from top to bottom (hanging on top of each other) respectively from left to right (hanging side by side):

FROM SUMMER TO FALL I (study)
acrylic and oil on canvas, 2018, 120 (w) x 80 (h) x 2 cm
upper/left part of the triptych

OF LOVE AND HOPE AT THE END OF SUMMER (study)
acrylic and oil on canvas, 2018. 120 (w) x 80 (h) x 2 cm
medium/center part of the triptych

FROM SUMMER TO FALL II (study)
arylic and oil on canvas, 2018, 120 (w) x 80 (h) x 2 cm
lower/right part of the triptych

* * * *

>The morning had dawned clear and cold, with a crispness that hinted at the end of summer.<
~ George R.R. Martin

>…and all at once, summer collapsed into fall.<
~ Oscar Wilde


 

BLOOD WILL HAVE BLOOD III
2018
150 (h) x 120 (w) x 4,5 cm
acrylic and oil on canvas

I often mediate on Shakespeare and his ageless dramatic scenarios. I do love his very poetic but razor-sharp, brilliant psychological consideration of the human being. Remember Macbeth. Striving for power — political, financial, intellectual, sexual — ruled, rules and will rule the world. We aren’t more than a stone’s throw away from former generations and centuries and from Scotland in the summer of 1057 (the death of king Macbeth).

Macbeth to Lady Macbeth:
„It will have blood, they say; blood will have blood.“
(Shakespeare: ex Macbeth, act III scene IV)

Colours are especially inspired by the 2015 British-French-American Macbeth film adaption, directed by Justin Kurzel and starring Michael Fassbender and Marion Cotillard. In Act V Macduff sets Birnham wood on fire and smoke and ashes blowing towards Macbeth’s castle. Macbeth dies on the battlefield filmed in impressive orange and red camera shots.


 

THE GHOST IN YOUR HEART
2018
130 (w) x 130 (h) x 2,5 cm
acrylic, oil, coloured pencil and pastel on canvas

Under a leaden sky
After our summer passed
After the season turned
After all we said and did not become
Hostages – prisoners – lovers – hostiles
Autumnal storms – raging sea – cold moon nights
You and me: museums of fear
Don’t forget what we once were.

Queen without a kingdom
In your dark world
When you cry at night
When you don’t find sleep in your dreams
I will be
The GHOST in your heart.

King without a queen
In my winter’s empire
When I cannot see the light of day
When I face the frozen winds from the North
You will be
The GHOST in my heart.

CB/2018

* * * *

“You must be ready to burn yourself in your own flame; how could you rise anew if you have not first become ashes?”
~ Friedrich Nietzsche

* * * *

This painting is a part of a new FIGURATIVE SERIES that complements the current artistic style of my large sized paintings. About the background of this series: I opened my world of painting and as a painter by drawing and sketching, and from the beginning till this day the figurative element plays a prominent role in my graphical works on paper. The figurative perspective was and still is my basement and the starting point for all of my expressive stylizations and abstractions. But I had the feeling that my drawn figures grow out of the small paper format and that they have something more to say. That’s the reason why I have started a new figurative series and transfer my graphical, figurative projection to the large sized canvas. I want more than just a profane copy of a drawing. It has to be a new challenge and a reorientation in form and content. From time to time I add some lyrical words, a poem or written message and confront these sentences with my figures on the canvas. Harmony or confrontation, everything is possible and it’s an exciting and very intuitive process somewhere between different contemporary painting genres.

 


 

IN THE QUIET AND PROMISING MORNING
2018
150 (w) x 120 (h) x 4,5 cm
acrylic and oil on canvas

Await my return from the starry sky
In the quiet and promising morning
Watch for me on the mountain
I will search for you until I find you
Through hundred worlds and lifetimes
To the edge of the world and beyond.

* * * *

“One must still have chaos on oneself to be able to give birth to a dancing star.”
~ Friedrich Nietzsche


 

AT DEEPEST NIGHT WHEN THE SEA IS CALLING
2018
150 (w) x 120 (h) x 4,5 cm
acrylic and oil on canvas

At deepest night
When my soul is aching
At deepest night
When the sea is calling
You can find me in the dark
And whatever fate will bring
No light will break my ark

* * * *

“The fishermen know that the sea is dangerous and the storm terrible, but they have never found these dangers sufficient reason for remaining ashore.“
~ Vincent Van Gogh


 

THE DARK SIDES OF OUR EMERALD GREEN MOON
diptych 2018
acrylic and oil on canvas
250 (w) x 150 (h) x 4,5 cm

About my inspiration and thoughts:

Everyone is a moon and has a dark side which he never shows to anybody. But without darkness how would we know when we walk in light? Darkness is an antagonist of happiness and has its role to play. And sooner or later we accept our dark side, understanding it will help us to move with the light. Too much of everything can destroy us. Too much darkness can kill, but too much light can blind. Knowing both sides of our soul helps us to move forward in life. There is the darkness that frightens, the darkness that soothes and the darkness that is restful. There is a darkness of lovers, a darkness of losers and a darkness of warriors. Victory or defeat, rebirth or melancholy, time before sunrise or afterglow of the sunset, it becomes what we wish it to be. It’s not wholly bad or good. Every defeat, every heartbreak, every loss contains its own seed, its own lesson on how to improve our steps the next time. You can love the light for it shows us the way, yet we should welcome the darkness because it shows us the stars, the universe and the depth of our emerald green moon.

The diptych combines following 2 works and should „read“ from left to right:

„LEAVE A CANDLE IN THE WINDOW“
acrylic and oil on canvas, 2018, 120 (w) x 150 (h) x 4,5 cm
left part of the diptych

„LONG AS I CAN SEE THE LIGHT“
acrylic and oil on canvas, 2018, 120 (w) x 150 (h) x 4,5 cm
right part of the diptych

* * *

„Truth will come to light.“
~ William Shakespeare (The Merchant of Venice, Act 2, scene 2)

„The instruments of darkness tell us truths.“
~ William Shakespeare (Macbeth, Act 1, scene 3)


 

THE SUMMER WHEN WE WERE QUEEN AND KING
2018
150 (w) x 120 (h) x 4,5 cm
acrylic and oil on canvas

You and me
Do you remember
Sweet love, so pristine
Days and nights of summer
When you were queen

Me and you
Do you remember
Sweet love, poisoned sting
Chill and heat of summer
When I was king

Sometimes
I still remember
Sweet love, fading bloom
Inside a doomed summer
Your face and your perfume

CB/2018

* * * *

In other and very well-known words:

“I will remember the kisses
And how you gave me
Everything you had
And how I offered you
What was left of me.”

~ Charles Bukowski


 

A PLACE CALLED GOLGATHA
2017/2018
100 (w) x 120 (h) x 2 cm
acrylic and oil on canvas

Golgatha was, according to the Gospels, a site immediately outside Jerusalem’s walls where Jesus was crucified. “They came to a place called Golgotha.”(Matthew 27:33) Wracked in pain and accompanied by Simon of Cyrene carrying his Cross, Jesus walked his last steps on earth to a place called Golgotha. Golgotha is an Aramaic word for skull (the Latin term is Calvaria where the name Calvary comes from). The reason why it was called „skull hill“ is unknown, possibly because it was the site of executions and/or the hill was shaped like a human skull. The exact location is unknown but mentioned in all four canonical Gospels:

And when they came to a place called Golgotha, which means Place of a Skull (Matthew 27:33).

Then they brought Him to the place Golgotha, which is translated, Place of a Skull (Mark 15:22).

When they came to the place called The Skull, there they crucified him and the criminals, one on the right and the other on the left (Luke 23:33).

Carrying his own cross, he went out to the place of the Skull – which in Aramaic is called Golgotha – (John 19:17).


 

WE’LL MEET AGAIN SOME SUNNY DAY
2017/2018
150 (w) x 120 (h) x 2 cm
acrylic and oil on canvas

The inspiration: I was thinking about losses and goodbyes in dark times. But we shouldn’t give up. There is hope even in a hopeless world to find the way back to the light and love. The British song “We’ll Meet Again”, composed and written in 1939, says it all. This song is one of the most famous of the Second World War era, and resonated with soldiers going off to fight and their families and sweethearts.

* * * *

We’ll meet again
Don’t know where
Don’t know when
But I know we’ll meet again some sunny day
Keep smiling through
Just like you always do
‚Til the blue skies
Drive the dark clouds far away

(lyrics by Ross Parker/Hughie Charles 1939)


 

 

AS IF THE MORNING SUN ENLIGHTENS THE SEA
2017/2018
acrylic and oil on canvas
120 (h) x 100 (w) x 4,5 cm

From the beginning
Until the end
Of time
Of love
Of us

Stand by me
As if
Your morning sun
Conquers the mist
Enlightens my sea

Be with me
As if
Your warming ray
Enriches the dawn
Gold-plates my day

From the end
Until a new beginning.

* * * *

“The sun is new each day.”
~ Heraclitus

“Following the light of the sun, we left the Old World.”
~ Christopher Columbus

 

 


 

IN THE LAND OF GODS AND MONSTERS
2017
150 (h) x 120 (w) x 4,5 cm
acrylic and oil on canvas

In this land called soul, nothing is free of doubt, every step is a highwire act, a difficult balance between heaven and hell, between good and evil, right and wrong, a neverending trip between summer and winter, night and day and between Olymp and Hades. I remember Friedrich Nietzsche and his thoughts: ‚God is dead. God remains dead. And we have killed him. Yet his shadow still looms. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives; who will wipe this blood off us? What water is there for us to clean ourselves?‘

* * *

„To live is to suffer,
to survive is to find some meaning in the suffering.“
Friedrich Nietzsche

 


 

REMEMBER THE DREAMS WE ONCE HAD
triptych 2017
acrylic and oil on canvas
380 (w) x 120 (h) x 4,5 cm

Years passed, seasons came and went. Do we remember where we have started from? The younger years, our hopes and dreams, all the golden life goals? Do we stand the ground, do we still believe in us? And what about the answers that life won’t give us? Do I remember my dreams, the dreams I once had, and do you still believe in me?

I share the opinion of the famous Norwegian painter Edvard Munch (1863-1944), that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context. This triptych REMEMBER THE DREAMS WE ONCE HAD combines three new and essential of my works (2017) from aesthetic standpoints as well as with regard to contents.

* * * *

LARGE-SIZED PAINTINGS.
LARGE-SIZED TRIOLOGY.

The triptych combines following works and should „read“ from left to right:

left part:
IN THE LAND OF GODS AND MONSTERS
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm

center part:
AWAKENING BENEATH AUTUMN SKIES
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm

right part:
IN FLANDERS FIELDS II
arylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm

 


 

IN FLANDERS FIELDS II
2017
150 (h) x 120 (w) x 4,5 cm
acrylic and oil on canvas

I do believe in the importance of history. History can tell us anything about men and politics and power. This painting deals with the subject and absurdity of war. There was one very important and bloody phase in World War I (1914 – 1918):

4 years war at the Western Front in Belgium in the fields of Flanders. Hundred thousands, enemies and friends, they lost their lives in trench warfares and buried in the Flemish earth. They called it „The war to end all wars“ (sometimes also „the war to end war“) and it is a very famous term of World War I, created in August 1914 and originally used in an idealisitc way. Young men in the trenches believed in that phrase, and it gave apparently a sense to all the bloodshed. This land tells their story – till this day. There’s also a museum in Ypres/Belgium. And there are all these red poppies in the fields as a reminder of the lost souls. The British officer John McCrae wrote in May 1915 the most famous poem about the killing fields of Flanders: IN FLANDERS FIELDS.

* * * *

„In Flanders fields the poppies blow
Between the crosses, row on row…“

(composed by Lieutenant Colonel John McCrae
at the battlefront on May 3, 1915
during the second battle of Ypres, Belgium)

 


 

AWAKENING BENEATH AUTUMN SKIES
2017
150 (h) x 120 (w) x 4,5 cm
acrylic and oil on canvas

“There are moments when troubles enter our lives and we can do nothing to avoid them. But they are there for a reason. Only when we have overcome them will we understand why they were there.”
― Paulo Coelho (ex: The Fifth Mountain)

 


 

SEA AND SKY AND MELANCHOLIA AT THE END OF SUMMER
Triptych 2016/17
acrylic and oil on canvas
380 (w) x 150 (h) x 2 cm

LARGE-SIZED PAINTINGS.
LARGE-SIZED TRIOLOGY AS TRIPTYCH.

I share the opinion of the famous Norwegian painter Edvard Munch (1863-1944), that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context. This triology SEA AND SKY AND MELANCHOLIA AT THE END OF SUMMER combines three new and essential of my works (2016/2017) from aesthetic standpoints as well as with regard to contents.

Summer is over soon and the days getting shorter again. Autumn is on the way. We feel the last warm breeze on our skin. Blue surrounds us and is the dominant colour. We are in between summer and autumn, in between blossom and fading. But we are just bystanders, we have no right to a say in a matter. Sea and sky exist from the beginning to the end of all times. And what about us? Do we have collect enough precious summer moments to survive the cold and darker days? With every new year the summer feels shorter, and life too. Where are the endless summer months at the seaside, far away from daily routine, where are our younger and lighthearted days? Hope is beyond the horizon line. But we are fighters and we have nothing to fear. Sea and sky and sometimes also melancholia will accompany us. And we should remember Dylan Thomas and his poem: „Do not go gentle into that good night.“ Next summer will come. Farewell warming sun. This is not the final.
.
The triptych combines following works and should „read“ from left to right:

„WHEN THE NIGHT FALLS ON SACRED LAND“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 2 cm
left part of the triptych

„WHERE THE WHITE WINDS BLOW“
acrylic and oil on canvas, 2016, 120 (w) x 150 (h) x 2 cm
center part of the triptych

„TO THE EDGE OF THE WORLD AND BEYOND“
arylic and oil on canvas, 2016, 120 (w) x 150 (h) x 2 cm
right part of the triptych

* * * *

„Do not go gentle into that good night
Rage, rage again the dying of the light.“
Dylan Thomas

 


 

THE GHOSTS OF THE FOREST
diptych 2017
acrylic and oil on canvas
260 (w) x 150 (h) x 2 cm

There was a time when the ghosts talked to us. But do we remember where we came from? So much of our future lies in preserving our past. The world inside us, our memories, intensive moments, bittersweet but indispensable feelings. And what about the ghosts and their stories from a time long ago?

The diptych combines following 2 works and should „read“ from left to right:

„WHEN THE NIGHT FALLS ON SACRED LAND“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 2 cm
left part of the diptych

„WHEN MORNING CONQUERS THE DARK OF NIGHT“
acrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 2 cm
right part of the diptych

* * *

„The muses are ghosts, and sometimes they come uninvited.“
– Stephen King (ex: Bag of Bones)

„Ghosts don’t haunt us. They’re present among us because we won’t let go of them.“
– Sue Grafton (ex: M is for Malice)

 


 

THE ICONOGRAPHY OF A FALLEN LOVE (ANNE BOLEYN)
triptych 2016
acrylic and oil on canvas
330 (w) x 150 (h) x 2 cm

The triptych is the fruit of a long-term internal creative dialogue with the use and meaning of Gold and Copper. I do love the famous use of these colors by Gustav Klimt and by medieval iconographers. My own contemporary interpretation (or maybe transfer) features dozens of really thin color layers and gradients mixed with Gold, Copper and Earth-Colors. Each of the three paintings highlights a different aspect of this transfer, but they contain not only a creative message as single piece. You can look at them also in a major conceptional context and from combined aesthetic standpoints as well as with regard to contents. This triptych THE ICONOGRAPHY OF A FALLEN LOVE (ANNE BOLEYN) has to tell a story.

About my thoughts and emotions during the painting process: Love comes, love goes. The rise and fall from grace in ten years. England in Renaissance… Speaking about Anne Boleyn, the second wife of the famous King Henry VIII who has been called the most influential and important queen consort England has ever had. In spring 1526 Henry began his pursuit of Anne Boleyn, an attractive and beautiful young lady at his court. He felt in deep love and wrote a collection of passionate love letters to her. But she resisted his attempts to seduce her, refusing to become only his mistress (which her sister Mary had been). She wanted more, and so he proposed marriage to her and she accepted. For her love he was willing to move mountains and annulled his former marriage and declared his independence from the Holy See that was the start of the English Reformation. Anne was crowned Queen of England as the second wife of King Henry VIII on 1 June 1533. She gave birth to the future Queen Elizabeth I. But as a queen Anne refused to play the submissive role expected of her. The vivacity and opinionated intellect that had made her so attractive as an illicit lover made her too independent for the largely ceremonial role of a royal wife and it made her many enemies. Henry, who started to dislike Anne’s constant irritability and violent temper, was more and more disappointed to have only a daughter rather a son. Anne’s downfall came shortly after she had recovered from her final miscarriage. At this time the king found a new mistress and needed reasons for his marriage with Anne to end. Anne Boleyn was arrested and sent to the Tower of London where a jury found she guilty for high treason. It was a propaganda trial with untrue accusations, but nobody rose the word for Anne. On the morning of Friday 19 May 1536 she was beheaded within the Tower of London and buried in an unmarked grave. The day after Anne’s execution Henry became engaged to Jane Seymour, who had been one of the Queen’s ladies-in-waiting. They were married ten days later (the third of finally six wives of King Henry VIII). Beside all politics and intrigues, what did happen to this former so passionate big love? Remember the final sentence of the famous Song of the Nibelungs (5th century): ‚At the end love bears always suffering‘. Love comes, loves goes. The rise and fall of Anne Boleyn in ten years…

The triptych combines following 3 works and should „read“ from left to right:

„AT THE DYING OF THE LIGHT“
acrylic and oil on canvas, 2016, 100 (w) x 120 (h) x 2 cm
left part of the triptych

„ARE YOU WITH ME AT FIRST AND LAST LIGHT“
acrylic and oil on canvas, 2016, 120 (w) x 150 (h) x 2 cm
center part of the triptych

„THE AWAKENING COASTLAND“
acrylic and oil on canvas, 2016, 100 (w) x 120 (h) x 2 cm
right part of the triptych

* * * *

„I beseech you now with all my heart definitely to let me know your whole mind as to the love between us…“
– Extract of a love letter from Henry VIII to Anne Boleyn (at the beginning of their relationship)

„O Death, rock me asleep, bring me to quiet rest, let pass my weary guiltless ghost out of my careful breast.“
– Anne Boleyn (on the verge of her execution)

„Of all losses, time is the most irrecuperable for it can never be redeemed.“
„Two beheadings out of six wives is too many.“
– Henry VIII of England (as an old man)

 


 

THE GENTLE ABSTRACTION OF LIGHT
(DIE SANFTE ABSTRAKTION DES LICHTS)
Triology 2016
acrylic and oil on canvas
370 (w) x 120 (h) x 2 cm

The triology THE GENTLE ABSTRACTION OF LIGHT is consciously inspired by the famous Norwegian painter Edvard Munch (1863-1944) and his works of the Classical Modernity (Expressionism). He had the theory of paintings as poems. Munch often combined different paintings as „Frieze“ (serial) to show the major life topics in different stages. I share Munch’s creative opinion for a part of my works, that paintings contain not only a creative message as single piece. You can look at them also in a major conceptional context, from aesthetic standpoints as well as with regard to contents.

My triology THE GENTLE ABSTRACTION OF LIGHT deals with the birth of light and its abstraction. We cannot live without light and warmth, light is our companion from the first until our last day. And we all walk under the same sun that already warmed the faces of Alexander the Great, Cleopatra, George Washington, Abraham Lincoln… -there is one philosophical question behind the sunny and colourful surface: Where did we come from, where will we go tomorrow? And maybe more important: between yesterday and tomorrow, between birth and death, where is our place, where is the shelter which gives us light, peace and confidence that we are leaving positive traces in space and time.

All three paintings are part of my current series INNOCENCE. The triology combines following three important works of the series and should „read“ from left to right:

RISE:
„THE BIRTH OF LIGHT AND TRUTH“
acrylic and oil on canvas, 2016, 120 (h) x 100 (w) x 2 cm

FORMING:
„THE POEM THAT TOOK THE PLACE OF A SUNRISE“
acrylic and oil on canvas, 2016, 120 (h) x 150 (w) x 2 cm

AFTERGLOW:
„WE WERE GIANTS IN THE MORNING LIGHT“
acrylic and oil on canvas, 2016, 120 (h) x 100 (w) x 2 cm