A U S G E W Ä H L T

AKTUELLE ARBEITEN VORGESTELLT.

Ich möchte an dieser Stelle auf einige meiner aktuellen Arbeiten eingehen. Natürlich handelt es sich um eine rein subjektive und unvollständige Auswahl, für einen kompletten Überblick meines Œuvre verweise ich auf die GEMÄLDE-GALERIE. Ich bin sehr dankbar für die Fähigkeit, in meiner ausdrucksstarken, poetischen Weise und mit wiedererkennbarer Handschrift malen zu können. Bitte sehen Sie mir nach, dass einige Bilderläuterungen nur in der Originalfassung – vielfach in englischer Sprache – vorhanden sind und ich an dieser Stelle auf Übersetzungen verzichtet habe. Da in meinem Atelier fortlaufend neue Werke entstehen, wird auch die nachfolgende Auflistung in regelmäßigen Abständen aktualisiert.

 

 

BEFORE THE TWILIGHT CALLS US BACK TO PORT
2019
150 (h) x 120 (w) x 2 cm
59,1 (h) x 47,2 (w) x 0,79 inches
acrylic and oil on canvas

Hoist the leaden anchor
Wherever you want to go
Put the linen sails
Whatever you want to be
Before the winds turn
Before autumn comes
Before the twilight
Calls us back to port

CB/2019

* * * *

“We know what we are, but not what we may be.”
~ William Shakespeare

 


 

WAITING FOR YOU ON PRISTINE SHORES
triptych 2019
acrylic and oil on canvas
380 (w) x 120 (h) x 2 cm
149,6 (w) x 59,1 (h) x 0,79 inches

The Morning – The Day – The Evening. Lights and colours during the day are different. There are similarities, but every phase of the day stays independent und has its very own feelings. The sea was, is and always will be a major place of longing for humans. The numeration is almost limitless: brightness, the Azure, summer (although I love the hibernal sea too), sand, waves, neverending noises of brakers and sea gulls, salt in the mouth and at the skin. Warmth, wanderlust and downtime. The sea deeply touches in its nativeness, autarchy, also destructiveness and its existence from the beginning to the end of all times. Everyone of us ties his own stories with the sea. The trilogy combines following works and should „read“ from left to right:

left part:
– The Morning –
SEARCHING FOR THE DAWN
acrylic and oil on canvas, 2019
120 (w) x 150 (h) x 2 cm
47,2 (w) x 59,1 (h) x 0,79 inches

center part:
– The Day –
MAKE ME BELIEVE IN YOUR SUNLIGHT
acrylic and oil on canvas, 2019
120 (w) x 150 (h) x 2 cm
47,2 (w) x 59,1 (h) x 0,79 inches

right part:
– The Evening –
BEFORE TWILIGHT CALLS US BACK TO PORT
arylic and oil on canvas, 2019
120 (w) x 150 (h) x 2 cm
47,2 (w) x 59,1 (h) x 0,79 inches

* * * *

“You don’t need to be the tide to rise and fall,
you don’t have to be a wave to touch the shore;
just be a little sand-grain and feel them all.”
― Munia Khan

 


 

TIME IS DANCING FROM SUNSET TO SUNRISE II
triptych 2018/19
acrylic and oil on canvas
380 (w) x 150 (h) x 2 cm

LARGE-SIZED PAINTINGS.
LARGE-SIZED TRILOGY 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 TIME IS DANCING FROM SUNSET TO SUNRISE combines three new and essential of my works (2017/2018) from aesthetic standpoints as well as with regard to contents.

One day from sunset to sunrise and from sunrise to sunset. One day and month, one season and year, one life. We are on a journey. There’s no standstill. The clock is ticking. Carpe diem et memento mori. Time is dancing and fading. We all have a fate. But it’s not of us to decide. All we have to decide is what to do with the time that is given to us. And so every day, every breath is precious and beyond retrieval. Scars remind us of our history. The small and the big stories of our life. We don’t remember every face and place. But we feel what we were and what we are. Carpe diem et memento mori – remember that you will die and seize the day.

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

„TRUE AT FIRST LIGHT V“
acrylic and oil on canvas, 2018, 120 (w) x 150 (h) x 2 cm
left part of the triptych

„WE’LL MEET AGAIN SOME SUNNY DAY“
acrylic and oil on canvas, 2017/18 120 (w) x 150 (h) x 2 cm
center part of the triptych

„TO THE EDGE OF THE WORLD AND BEYOND II“
acrylic and oil on canvas, 2019, 120 (w) x 150 (h) x 2 cm
right part of the triptych

* * * *

„Scars have the strange power to remind us that our past is real.“
– Cormac McCarthy (ex: All the Pretty Horses)

 


 

DAYDREAMING OF AN ENDLESS SUMMER (right/rechts)
150 (w) x 120 (h) x 2 cm / 59,1 (w) x 47,2 (h) x 0,79 in
acrylic and oil on canvas
2019

Be aware I’m dreaming the dark
A fallen king, a stranded soul
Without a throne, without an ark
Somewhere, somehow
Wanna find shelter from the cold.

Can’t you see I’m yearning for light
A ground to live, a space to be
A place to keep me warm at night
Somewhere far from here
Where the summer never ends.

/CB

* * *

„What good is the warmth of summer, without the cold of winter to give it sweetness.“
~ John Steinbeck

* * *

EVERY SUMMER HAS A STORY (left/links)
150 (w) x 120 (h) x 2 cm / 59,1 (w) x 47,2 (h) x 0,79 in
acrylic and oil on canvas
2019

When I wake up
In the early summer
Wanna wake up with you
In my mind and by my side
Wanna face the beauty
And the beast

When I wake up
In the midsummer
Still wanna wake up with you
In my heart and hand in hand
Wanna face your sunlight
And believe.

CB/2019

* * *

„Beauty will save the world.“
~ Fyodor Dostoevsky

 


 

DEEP BLUE DAYS DOWN BY THE SEA
quadriptych 2019
acrylic and oil on canvas

horizontal hanging (4 paintings side by side in one line):
540 (w) x 150 (h) x 4 cm / 212,6 (w) x 59,1 (h) x 1,6 inch*
vertical hanging (2 paintings side by side in two lines on top of each other)
260 (w) x 320 (h) x 4 cm / 102,4 (w) x 125,9 (h) x 1,6 inch*
(*with a hanging distance each of 7,9 in / 20 cm between the single paintings)

TWO HANGING OPTIONS: HORIZONTAL OR VERTICAL HANGING – 4 LARGE-SIZED PAINTINGS AS QUADRIPTYCH

This quadrilogy is inspired by the sea as a never-ending melancholic, bittersweet but beautiful and poetical inspiration. Early in the morning – at noontime – in the evening hours – at night. Down by the sea, lights and colors, wind speed and directions are very different during the day and during the seasons. There are commonalities, but every phase stays independent und has its very own feelings. The sea was, is and always will be a major place of longing for humans. The numeration is almost limitless: brightness, the Azure and deep blue layers, summer (although I love the hibernal sea too), sand, waves, never-ending noises of breakers and sea gulls, salt in the mouth and at the skin. Wanderlust and downtime. It is the quiet life down by the oceanside. The sea deeply touches in its nativeness, autarchy, also destructiveness and its existence from the beginning to the end of all times. Every one of us ties his own stories with the sea. The quadriptych combines 4 pieces of my series of works with the title SUBZERO from aesthetic standpoints as well as with regard to contents and should „read“ from left to right:

first twilight brightens the sky:
A LOVE SO DEEP THE OCEAN WOULD BE JEALOUS
acrylic and oil on canvas, 2019
59,1 (h) x 47,2 (w) x 1,6 in / 150 (h) x 120 (w) x 4 cm

promising tenderness in the morning:
AS WIDE AND AS WAVERING AS THE OCEAN
acrylic and oil on canvas, 2019
59,1 (h) x 47,2 (w) x 1,6 in / 150 (h) x 120 (w) x 4 cm

golden hours at noontime:
AS TIMES GO BY IN BEAUTY AND MELANCHOLIA
acrylic and oil on canvas, 2014
59,1 (h) x 47,2 (w) x 1,6 in / 150 (h) x 120 (w) x 4 cm

before the nightfall:
LET THE OCEAN BRING ME BACK SOME MEMORIES OF YOU
acrylic and oil on canvas, 2019
59,1 (h) x 47,2 (w) x 1,6 in / 150 (h) x 120 (w) x 4 cm

 


 

THE FAITHFUL AND THE FALLEN
triptych 2018
acrylic and oil on canvas
149,6 (w) x 59,1 (h) x 0,8 in
380 (w) x 150 (h) x 2 cm

This trilogy is inspired by the history of the medieval Crusades. These Crusades were a series of religious wars between Christians and Muslims started primarily to secure control of holy sites in the Eastern Mediterranean considered sacred by both groups. Eight major Crusade expeditions occurred between 1096 and 1291. The bloody, violent and often ruthless conflicts started in 1095, when Pope Urban II called for the First Crusade in a sermon at the Council of Clermont. But the two-century attempt to recover the Holy Land from Muslim rule ended in failure. The last Catholic outposts Acre fell in 1291. But the Era of the Crusades is also intrinsically tied to famous medieval commanders as Frederick I, Holy Roman Emperor (Frederick Barbarossa), Richard I of England (Richard the Lionheart), and Salah ad-Din (Saladin) and it was the birth of knightly orders as The Knights Templars, The Teutonic Knights and The Hospitallers of St John. The Crusades had also an impact on Middle East nations for many years, and still influence political and cultural views and opinions held today.

This fight between the Orient and Occident, between (Roman Catholic) Christianity and Islam has a long history. It is still a subject of discussion where was the starting point of this conflict and I don’t want to adjudicate on medieval incidents, perpetrators and victims and on deeds and misdeeds on both sides from the perspective of the 21st century. But what I know: those that fail to learn from history, are doomed to repeat it (Winston Churchill). Only the deeper knowledge of the past enables a peaceful tomorrow. This fact includes the attempt of understanding individual medieval environment, motivation and set of beliefs. Beyond all question historical narratives of the Era of Crusades offer us stories of humility, courage, creed, and hope and inspired romance, philosophy, and literature by accounts of heroism, chivalry, and piety. Emotions mixed with their unshakeable belief in God that motivated kings, knights, servants and ordinary people to “Take the Cross”.

My trilogy THE FAITHFUL AND THE FALLEN about the First Crusade combines three essential of my works (2018) from aesthetic standpoints as well as with regard to contents. The triptych brings important events of the Era of the Crusades into focus and should “read” from left to right:

„DEUS LO VULT. GOD WILLS IT“
acrylic and oil on canvas, 2018 / 59,1 (h) x 47,2 (w) x 0,8 in / 150 (h) x 120 (w) x 2 cm
left part of the triptych

„THE KINGDOM OF JERUSALEM“
acrylic and oil on canvas, 2018 / 59,1 (h) x 47,2 (w) x 0,8 in / 150 (h) x 120 (w) x 2 cm
center part of the triptych

„NO MORE SHALL MY MORNING RISE IN OUTREMER“
acrylic and oil on canvas, 2018 / 59,1 (h) x 47,2 (w) x 0,8 in / 150 (h) x 120 (w) x 2 cm
right part of the triptych

* * * *

„As we go in the name of God, we are confident that He will guide us.“
~ James I. of Aragon (1208 – 1278)

“You who love with true love, awake!
Sleep no more! The lark tells us know that the day is here
And tells us in her songs that the day of peace has come
Which God, in his great tenderness, will give to those who for love of him
Take the cross and for their burden suffer pain both night and day
Then he will see who truly love him.”
~ from ‚Les chansons de croisade‘ (Songs of the Crusades), unknown poet but written before the poet’s participation in the Fifth Crusade around 121

 


 

THE LIVING AND THE DEAD
triptych 2018
acrylic and oil on canvas
310 (w) x 120 (h) x 4,5 cm

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 trilogy THE LIVING AND THE DEAD combines three essential of my works (2018) from aesthetic standpoints as well as with regard to contents.

Central topic is light: brightness as a symbol that stands for the beginning, the morning, the pureness and birth, the ease and light-heartedness. In other words: innocence. And this innocence is beautiful, perfect, immortal. This innocence is emotional, it touches and is a promise. Mostly the triptych works with very different yellow and red colours. We are talking about affirmative paintings as a stark contrast to the (daily) madness and confusions around us. These paintings are my answer to all the negative events in this world and it correlates with my credo: be hot, be cold but never be lukewarm. Today is already past, and we have to fight against the gloom before melancholia will drown us. We should offer resistance against the inner and outer debris fields – we can be warriors of the light (within the meaning of Paulo Coelho) and we are able to design our fate in an intensive and positive kind. We’re standing back to back and defending our well standpoints. We are making mistakes. But we are fighting.

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

„IF YOU WERE AN EMPIRE ON WHICH THE SUN NEVER SETS II“
acrylic and oil on canvas, 2018, 100 (w) x 120 (h) x 4,5 cm
left part of the triptych

„AS IF THE MORNING SUN ENLIGHTENS THE SEA“
acrylic and oil on canvas, 2013, 100 (w) x 120 (h) x 4,5 cm
center part of the triptych

„IF YOU WERE MY MORNING IN THE WILDERNESS“
acrylic and oil on canvas, 2018, 100 (w) x 120 (h) x 4,5 cm
right part of the triptych

* * * *

„The past is not dead. It’s not even past.“
~ William C. Faulkner (1897-1962)

 


 

Eine meiner sehr großflächigen Kommissionsarbeiten, angefertigt für einen britischen Sammler in 2018. Hier vor Ort das fertiggestellte Gemälde an seinem endgültigen Platz im Herzen von London, mit Blick auf den Tower Of London.

OF LOVE AND HOPE AT THE END OF SUMMER ist ein XXL-Gemälde auf purem Leinen, fertiggestellt nach zwei kreativen und sehr herausfordernden Monaten im Sommer 2018. Es ist jedesmal wieder gleichermaßen aufregend und befriedigend, in diesen Dimensionen arbeiten zu können. Wirklich einer meiner Favoriten und irgendwie auch ein weiterer Nachweis, dass meine Malerei und mein künstlerisches Statement (auch) mit dem sehr großen Format bestens harmonieren. Ich bin dankbar für diese Art von Erfahrungen und jederzeit an weiteren Kommissionsaufträgen für Großgemälde interessiert (für weitere Details kontaktieren Sie mich bitte).

OF LOVE AND HOPE AT THE END OF SUMMER
350 (w) x 215 (h) cm / 138 (w) x 85 (h) inch
2018 / acrylic and oil on canvas

Wake me gently
Before darkness
When love still lives
Before eventide
Before twilight

Kiss me softly
Before we fall
When hope still burns
Before autumn
Before first frost

Touch me deeply
Whisper quietly
A forever poem
Of love and hope
When summer ends.

CB/2018

 


 

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.

 


 

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)