{"id":383,"date":"2016-02-04T16:34:33","date_gmt":"2016-02-04T15:34:33","guid":{"rendered":"http:\/\/www.7and1lives.de\/?page_id=383"},"modified":"2024-10-19T07:03:16","modified_gmt":"2024-10-19T05:03:16","slug":"neuewerke","status":"publish","type":"page","link":"http:\/\/www.7and1lives.de\/paintingdeutsch\/neuewerke\/","title":{"rendered":"NEUE WERKE"},"content":{"rendered":"

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A U S G E W \u00c4 H L T
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AKTUELLE ARBEITEN VORGESTELLT.<\/strong><\/span><\/p>\n

Ich m\u00f6chte an dieser Stelle auf einige meiner aktuellen Arbeiten<\/strong> eingehen. Nat\u00fcrlich handelt es sich um eine rein subjektive und unvollst\u00e4ndige Auswahl, f\u00fcr einen kompletten \u00dcberblick meines \u0152uvre verweise ich auf die<\/span> GEM\u00c4LDE-GALERIE<\/strong><\/a>. Ich bin sehr dankbar f\u00fcr die F\u00e4higkeit, in meiner ausdrucksstarken, poetischen Weise und mit wiedererkennbarer Handschrift malen zu k\u00f6nnen. Bitte sehen Sie mir nach, dass einige Bilderl\u00e4uterungen nur in der Originalfassung – vielfach in englischer Sprache – vorhanden sind und ich an dieser Stelle auf \u00dcbersetzungen verzichtet habe. Da in meinem Atelier fortlaufend neue Werke entstehen, wird auch die nachfolgende Auflistung in regelm\u00e4\u00dfigen Abst\u00e4nden aktualisiert.<\/span><\/p>\n

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LOVE, HOPE AND THE BITTERSWEET RAIN<\/strong><\/span><\/p>\n

2024. diptych.<\/span><\/p>\n

Combines 2 single paintings, each with dimensions of 120 (w) x 150 (h) x 2 cm \/ 47,2 (w) x 59,1 (h) x 0,79 inches. Complete dimensions of this artwork, including the hanging space between the single paintings: 250 (w) x 150 (h) x 2 cm \/ 98,4 (w) x 59,1 (h) x 0,79 inches.<\/span><\/p>\n

Whatever reason you live and fight, even in the middle of the night, surrounded by doubts and cold, let love reign supreme, never let hope fade. Left part: ONLY LOVE AND A LITTLE BIT OF RAIN (2024). Right part: PUSH THE SKY AWAY (2024).<\/span><\/p>\n

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OCEAN AND MEMORIES IN THE MORNING LIGHT<\/strong><\/span>
\n2023<\/span>
\n150 (h) x 120 (w) x 2 cm<\/span>
\n59,1 (h) x 47,2 (w) x 0,79 in<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

LARGE MODERN STATEMENT-PIECE<\/span><\/p>\n

Large colorful abstract work, inspired by the book \u201cThe Interpretation of Dreams\u201d (1900) by Sigmund Freud. Beneath the surface, where daylight fades, there are more answers than we have asked. Our thinking is just the tip of the iceberg.<\/span><\/p>\n

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WHEN WE WILL MEET IN THE MORNING OF THE DAY<\/strong><\/span>
\n2023<\/span>
\n150 (h) x 120 (w) x 2 cm<\/span>
\n59,1 (h) x 47,2 (w) x 0,79 in<\/span>
\nacrylic, ink and oil on canvas<\/span><\/p>\n

Large monochrome work in ink, oil and acrylic that very consciously refers to the (only apparent) lightness of watercolors and Chinese ink painting and the wonderful handling of melancholy drawn in water.<\/span><\/p>\n

Sometime, somewhere, somehow… when we will meet, in the morning of the day. Under low hanging clouds, in the vastness of a distant land, will we recognize each other?<\/span><\/p>\n

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I AM THE SEA AND THE COAST<\/strong> (diptych)<\/span>
\ndiptych 2022<\/span>
\nacrylic and oil on canvas<\/span>
\n250 (w) x 150 (h) x 2 cm<\/span>
\n98,4 (w) x 59,1 (h) x 0,79 inches<\/span><\/p>\n

TWO LARGE-SIZED PAINTINGS COMBINED<\/span>
\nAS LARGE-SIZED DIPTYCH<\/span><\/p>\n

Statement piece as large-sized diptych: 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. The diptych I AM THE SEA AND THE COAST combines two new and essential of my works from aesthetic standpoints as well as with regard to contents:<\/span><\/p>\n

Inspired by endless summer walks along the coast of Mallorca\u2026<\/span>
\nThe Morning \u2013 The Evening. Lights and colors 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, never ending 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.<\/span><\/p>\n

* * * *<\/span><\/p>\n

The diptych combines following works and should „read“ from left to right:<\/span><\/p>\n

left part:<\/span>
\n– The Morning –<\/span>
\nWE ARE LIKE ISLANDS IN THE SEA<\/strong><\/span>
\nacrylic and oil on canvas, 2022<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,79 inches<\/span><\/p>\n

right part:<\/span>
\n– The Evening –<\/span>
\nBEFORE TWILIGHT KISSES THE SHORELINE<\/strong><\/span>
\nacrylic and oil on canvas, 2022<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,79 inches<\/span><\/p>\n

* * * *<\/span><\/p>\n

\u201cYou can never cross the ocean until you have courage to lose sight of the shore.\u201d<\/span>
\n– Christopher Columbus<\/span><\/p>\n

\u201cWe are like islands in the sea, separate on the surface but connected on the deep.\u201d<\/span>
\n– William James<\/span><\/p>\n

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WAITING FOR YOU ON PRISTINE SHORES II<\/strong><\/span>
\ntriptych 2022<\/span><\/p>\n

The Morning \u2013 The Day \u2013 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. Everyone of us ties his own stories with the sea. The trilogy combines following works and should „read“ from left to right:<\/span><\/p>\n

left part:<\/span>
\n– The Morning –<\/span>
\nSEARCHING FOR THE DAWN II<\/strong><\/span>
\nacrylic and oil on canvas, 2022<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span><\/p>\n

center part:<\/span>
\n– The Day –<\/span>
\nMAKE ME BELIEVE IN YOUR SUNLIGHT II<\/strong><\/span>
\nacrylic and oil on canvas, 2022<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span><\/p>\n

right part:<\/span>
\n– The Evening –<\/span>
\nBEFORE TWILIGHT CALLS US BACK TO PORT II<\/strong><\/span>
\narylic and oil on canvas, 2022<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span><\/p>\n

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ON THE BANKS OF THE HUDSON<\/strong> (triptych)<\/span>
\ntriptych 2022<\/span>
\n150 (h) x 400 (w) x 2 cm<\/span>
\n59,1 (h) x 157,5 (w) x 0,78 in<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

LARGE STATEMENT-PIECE in three parts<\/span><\/p>\n

My new large monochrome work in Prussian blue, that very consciously refers to the (only apparent) lightness of watercolors and Chinese ink painting and the wonderful handling of melancholy drawn in water. Furthermore, my inner inspiration for this emotional work:<\/span><\/p>\n

\u201cAlways in early autumn, constantly reminded of you. I sit here and write you a letter, just like I always do when the first cold rain drifts across the country and the evenings get longer. There is lightness in life and also the bittersweet heaviness of the first rainy days. I know and you know too. Where have you been, as the years passed by me? One last time, meet me on the banks of the Hudson. Where it all began, where it all ended, facing the water on starry nights. Where are you? Even if I forgot the sound of your voice and all the names that you gave me, even if we live in different worlds and under different skies now, even if we are separated by oceans and continents. I will wait for you on the banks of the Hudson, like I do every year in autumn. Sometimes, only sometimes all those pictures from the past feel like a single wistful moment, so far away, so close. But while I remember all the nights and days, you save your tears for another life. We were never the same, never even similar. As you said, moon and sun will never find each other. Your world is no longer mine. And when I have finished writing the letter, when all is said, when every word has found its place and fits into this deceptive puzzle of memories and melancholy, then I go to the banks of the Hudson, to the place you know, and tear up the sheet. One more time, again and again. Always in autumn, constantly reminded of you.\u201d<\/span><\/p>\n

This triptych combines the following works and should be „read“ from left to right:<\/span><\/p>\n

WHAT WE PROMISED AND BROKE<\/strong><\/span>
\n2022. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,78 inches<\/span>
\nleft part of the triptych<\/span><\/p>\n

*<\/span><\/p>\n

WHERE IT ALL BEGAN AND WILL END<\/strong><\/span>
\n2022. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,78 inches<\/span>
\ncentral part of the triptych<\/span><\/p>\n

*<\/span><\/p>\n

CONSTANTLY REMINDED OF YOU<\/strong><\/span>
\n2022. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,78 inches<\/span>
\nright part of the triptych<\/span><\/p>\n

* * * *<\/span><\/p>\n

\u201cNow I can look at you in peace; I don’t eat you anymore.\u201d<\/span>
\n~ Franz Kafka<\/span><\/p>\n

\u201cTo love is nothing. To be loved is something. But to love and be loved is everything.\u201d<\/span>
\n~ Chinese proverb<\/span><\/p>\n

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LATE SUMMER IN THE HAMPTONS (triptych)<\/strong><\/span>
\ntriptych 2021<\/span>
\n150 (h) x 380 (w) x 4,5 cm<\/span>
\n59,1 (h) x 149,6 (w) x 1,77 in<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

LARGE STATEMENT-PIECE<\/span>
\nLARGE TRILOGY AS TRIPTYCH<\/span><\/p>\n

The Hamptons are a very special place for me, a place of longing, where the really important things for the soul can be found. A place that seems to have fallen out of time, a retreat, somewhere between the Atlantic and the big city that never sleeps, somewhere between eternity, fast paced life and at the gates of the world. What I really need, it is in the small moments when the day gently sweeps over the coastal landscape and, above all, the colors and winds stay in my memory more than anything else.<\/span><\/p>\n

Over the years, the cycle of life became an important topic in my painting. I\u2019m not talking about the big events and actions. Life is always a collection of many little moments and key experiences. What do we remember when we look back? It is not the complete story of our life from A to Z, it is just a few important breathtaking moments that have shaped and enriched us. Life is a circle and follows the course of the sun: We awaken, we rise, we take a deep breath before we fall and fade again. In this specific artwork I deal with our inner restlessness and longing that sometimes makes it so difficult for us to remain in the moment and enjoy happiness.<\/span><\/p>\n

This triptych combines the following works and should be \u201eread\u201c from left to right:<\/span><\/p>\n

EARLY MORNING IN MONTAUK<\/strong><\/span>
\n2021. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 inches<\/span>
\nleft part of the triptych<\/span><\/p>\n

Inspired by the beautiful landscape in the Hamptons in early autumn\u2026 Let\u2019s go to the lighthouse, Long Island behind us, the sea in front of us. End of the world, just one more step. The young sun shows us the way to the horizon. In the morning, when the sea still seems calm and the first light drives away the ghosts of the night, everything seems possible to us. then you push aside all the clouds with a single smile, then this moment becomes eternity and this place bears your name forever. And we feel like giants, freed from the shadows of the big city.<\/span><\/p>\n

*<\/span><\/p>\n

MEET ME ON GARDINER\u2019S ISLAND<\/strong><\/span>
\n2021. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 inches<\/span>
\ncentral part of the triptych<\/span><\/p>\n

Meet me on Gardiner\u2019s Island, you said a long time ago. Do you remember, and do you still remember my name? Countless years passed, some melancholy, others meaningless. What seemed right became more and more blurred in the sea of your longings. We wanted so much, and yet we were no more and no different from all the others who tried to climb these peaks before us. And I ask you again: do you remember me and the way I remember you? Once upon a time we were queen and king, an adventurous world at our feet. But today we are history, and I know you are sleeping peacefully. I\u2019m part of a story from another life. The storm is over. And we never met on Gardiner\u2019s island, never will.<\/span><\/p>\n

*<\/span><\/p>\n

BEFORE SUNSET AT COOPER\u2019S BEACH<\/strong><\/span>
\n2021. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 inches<\/span>
\nright part of the triptych<\/span><\/p>\n

Once again inspired by autumn walks on Long Island \u2026 Before sunset at Cooper\u2019s Beach. The shadows lengthen over the white, sandy beach. The day falls away from me and I listen to the voices of the waves as they tell their stories. There was a time when I looked forward to the nights. But today I let the fires burn so that they carry me through the rising night. Tell me, here in South Hampton, what better place to meet yourself?<\/span><\/p>\n

* * * *<\/span><\/p>\n

\u201eThere is not one big cosmic meaning for all, there is only the meaning we each give to our life, an individual meaning, an individual plot, like an individual novel, a book for each person.\u201c<\/em><\/span>
\n~ Anais Nin (1903 \u2013 1977)<\/span><\/p>\n

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NAPOLEON AND JOS\u00c9PHINE<\/strong><\/span>
\ndiptych 2020<\/span>
\ncomplete dimension of the diptych with a hanging distance of 20 cm\/ 7.9 in between the paintings:<\/span>
\n150 (h) x 260 (w) x 2 cm \/ 59.1 (h) x 102.4 (w) x 0,78 in<\/span>
\ndimension of each painting:<\/span>
\n150 (h) x 120 (w) x 2 cm \/ 59.1 (h) x 47.2 (w) x 0.78 in<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

LARGE COLORFUL STATEMENT PIECE<\/span>
\nLARGE-SCALED DIPTYCH<\/span><\/p>\n

The Emperor and Empress. Love is omnipresent. The power of love overcomes all obstacles. This is also the case with Napoleon and Jos\u00e9phine (1763 \u2013 1814), two lovers who could hardly be more different, born into a time of great upheaval, into feudal Europe between war and peace, between revolution, noble splendor and social poverty. When they get to know each other, the Corsican Napoleon Bonaparte (1769 \u2013 1821) is still an insignificant young officer. The six years older, already widowed Jos\u00e9phine (Napoleon was the first to give her this first name, which she then used herself) was already at this time as Marquise de Beauharnais the center of Paris society in the post-revolutionary epoch of the Directoire. Napoleon was passionate about her, and through her contacts and social position she helped him to rise to high political and military ranks. The two married in 1796, and in 1804, despite her dubious reputation, Napoleon crowned her empress in the Church of Notre-Dame in Paris. While Napoleon continued to rise to the position of conqueror and dictator, Jos\u00e9phine became the role model of the Empire, was the much sought-after propagandist of French fashion, ambassador of the elegant way of life, figurehead of the flourishing luxury industry. Empress Jos\u00e9phine was a great lover of all art. Her great interest in horticulture is well-known, but she also liked all things artistic. She surrounded herself with creative people whose work ranged from paintings and sculpture to furniture and the architecture all around her. After the collapse of the Empire and Napoleon\u2019s forced abdication, she asked Emperor Alexander I of Russia in the gardens of Malmaison to join Napoleon in exile. It was probably during this walk that she caught a severe cold from which she died painfully on May 29, 1814. Napoleon learned of her death while in exile on Elba, and stayed locked in his room for two days, refusing to see anyone. His last words on his death bed were: \u201eFrance, the Army, the Head of the Army, Jos\u00e9phine.\u201c But who were they really, how did they love? The winners alone make the story. And Napoleon himself was a master of propaganda. So the truth remains hidden forever. What is certain, however, is that love and passion overcome all obstacles.<\/span><\/p>\n

This colorful diptych combines the following works and should be \u201cread\u201d from left to right:<\/span><\/p>\n

left part of the diptych:<\/span>
\nTHE LAST CALM DAY BEFORE THE STORM (THE EMPEROR)<\/strong><\/span>
\n2020. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47.2 (w) x 59.1 (h) x 0.78 in<\/span><\/p>\n

My beloved Jos\u00e9phine, now and here, the sun is smiling on our faces, and it almost shines for eternity. But there is no rest, not for us. There is only the silence before the storm, the last bright rays in a cloud-shrouded firmament. Whether we say it or refuse it, as in myself, chaos is already looming on the horizon. What was what we share now, it will never be the same again.<\/span><\/p>\n

* * * *<\/span><\/p>\n

right part of the diptych:<\/span>
\nIF I COULD LOOK BEYOND THE HORIZON (THE EMPRESS)<\/strong><\/span>
\n2020. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47.2 (w) x 59.1 (h) x 0.78 in<\/span><\/p>\n

My beloved Bonaparte, I live as I love. Does it matter in the here and now what may be beyond the horizon? What they will say and write about me will only be a footnote in world history, an annex to your biography, and it will not be the truth, but only a reflection of their own virtues and vices. The future belongs to the emperor, this moment with him is mine alone.<\/span><\/p>\n

* * * *<\/span><\/p>\n

\u201cI awake full of you. Your image and the memory of last night\u2019s intoxicating pleasures has left no rest to my senses.\u201c<\/em><\/span>
\n~ Napoleon Bonaparte (December 1795, in one of his numerous letters to Jos\u00e9phine; only the love letters from Napoleon to Jos\u00e9phine have survived, which she kept for the rest of her life. It is still unclear whether Josephine never wrote back or whether her letters have disappeared.)<\/span><\/p>\n

\u201cFrance, the Army, the Head of the Army, Jos\u00e9phine.\u201c (\u201eFrance, l\u2019arm\u00e9e, t\u00eate d\u2019arm\u00e9e, Jos\u00e9phine\u201c).<\/em><\/span>
\n~ Last words of Napoleon on his death bed (St. Helena, May 5, 1821)<\/span><\/p>\n

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THE CALM BEFORE THE STORM (diptych)<\/strong><\/span>
\nDiptych 2021<\/span>
\n150 (h) x 260 (w) x 2 cm<\/span>
\n59,1 (h) x 102,36 (w) x 0,78 in<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

LARGE STATEMENT PIECE<\/span>
\nLARGE-SCALED DIPTYCH<\/span><\/p>\n

This monochrome diptych combines the following works and should be \u201eread\u201c from left to right:<\/span><\/p>\n

*<\/span><\/p>\n

ABOUT THE HERE AND NOW<\/span>
\n2021. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,78 in<\/span>
\nleft part of the diptych<\/span><\/p>\n

\u201cYesterday is gone.<\/span>
\nTomorrow has not yet come.<\/span>
\nWe have only today.<\/span>
\nLet us begin.\u201d<\/span><\/p>\n

~ Mother Theresa<\/span><\/p>\n

*<\/span><\/p>\n

MY HOUSE BY THE SEA<\/span>
\n2021. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,78 in<\/span>
\nright part of the diptych<\/span><\/p>\n

There is a place of longing that towers above everything. This house by the sea. No luxury, no pomp, just the original, just the pure feeling of closeness to the water and the beach. Especially in times when the here and now makes me cramped and my soul becomes heavy, as the beach seems far away, my thoughts are more than ever on this house by the sea. Nothing has more magic than the ocean. And a place where everything falls away from me.<\/span><\/p>\n

\u201eIt is an interesting biological fact that all of us have in our veins the exact same percentage of salt in our blood that exists in the ocean, and, therefore, we have salt in our blood, in our sweat, in our tears. We are tied to the ocean. And when we go back to the sea \u2013 whether it is to sail or to watch it \u2013 we are going back from whence we came.\u201d<\/span><\/p>\n

~ John F. Kennedy (September 14, 1962)<\/span><\/p>\n

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WHEN TWO WORLDS COLLIDE (diptych)<\/strong><\/span>
\nDiptych 2020<\/span>
\n150 (h) x 260 (w) x 4,5 cm<\/span>
\n59,1 (h) x 102,36 (w) x 1,77 in<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

LARGE STATEMENT PIECE<\/span>
\nLARGE-SCALED DIPTYCH<\/span><\/p>\n

Inspired by long conversations by the fireplace\u2026<\/span>
\nWhen two worlds collide, we live for the moments that are worth remembering. Everything else is part of a past that tries to keep us from moving on. I want to see more, feel more, live more, you say. I\u2019ve already seen a lot, but it\u2019s not enough for me. I want to go on until my feet and my curiosity no longer carry me. But the time has not come yet. You look at me expectantly, but I don\u2019t say anything. When two worlds collide, love is not a safe place, it never was. Moments and the memories of them may be intended for the universe, but not people.<\/span><\/p>\n

This diptych combines the following works and should be \u201eread\u201c from left to right:<\/span><\/p>\n

*<\/span><\/p>\n

IN THE LIGHT OF THE VIRGIN MORNING<\/span>
\n2020. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 in<\/span>
\nleft part of the diptych<\/span><\/p>\n

The Awakening: We are giants in the morning light. We have no questions at the beginning. Every breath is a sunny day and feels like paradise. No doubt in our head and in our hearts. We have no fear of the future. We live and we feel. We do not need more. We believe that these perfect and safe days and nights are endless, that they will last forever. But we have to grow up sooner or later.<\/span><\/p>\n

*<\/span><\/p>\n

ON OUR LAST BREATH BEFORE SUNSET, REMEMBER US<\/span>
\n2020. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 in<\/span>
\nright part of the diptych<\/span><\/p>\n

The Fading: Late summer becomes autumn and winter is only a matter of time. The show is not over with one last bang. It is a slow process with countless steps from light to dark. The sun is already setting. But we want to resist, we want to stop the sun from running, if only for a short time. But we are no gods. We are not immortal. And tears fall. We feel too young to say goodbye. But we can be proud because we leave footprints here on earth. And it\u2019s not over now. We begin to accept our fate and enjoy the time that is given to us. Hope and love are the answers that help us through leaden hours. We smile and kiss and drink. And we remember Dylan Thomas: We don\u2019t go gentle into this good night. \u2013 There is no real finale, we are only a small part of the circle.<\/span><\/p>\n

* * * *<\/span><\/p>\n

\u201cYou cannot swim for new horizons until you have courage to lose sight of the shore.\u201d<\/span>
\n~ William Faulkner<\/span><\/p>\n

\u201cBeing deeply loved by someone gives you strength, while loving someone deeply gives you courage.\u201d<\/span>
\n~ Lao Tzu<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

ALL ENDS IN SILENCE IN PASSCHENDAELE<\/strong><\/span>
\n2021<\/span>
\n150 (h) x 120 (w) x 2 cm<\/span>
\n59,1 (h) x 47,2 (w) x 0,79 in<\/span>
\nacrylic and oil on canvas<\/span>
\nCoronavirus series<\/em><\/span><\/p>\n

The Battle of Passchendaele (also known as Third Battle of Ypres) was a campaign of the First World War, fought by the attacking Allies (Belgian, French, British Expeditionary Force and Canadian Expeditionary Force) against the defensive German Empire, near the Belgian city of Ypres in West Flanders, from July to November 1917. Men went into battle because the politicians told them this was the decisive war that would end all wars. But nothing but horror and death awaited them. The battle ended with the conquest of the small village of Passchendaele, but there were hundreds of thousands of casualties in this offensive. More than 600,000 soldiers died here in just 100 days for a small shift of the front line. The campaign was controversial and has remained so. Especially the effect of the exceptional weather, the decision to continue the offensive in rainy October and the human costs of the battle are also debated. That is why the Flanders Offensive now stands for the brutality and senselessness of this war.<\/span><\/p>\n

* * *<\/span><\/p>\n

\u201cThis is a war to end all wars.\u201d<\/em><\/span>
\n~ Woodrow Wilson (President of the United States), 1917<\/span><\/p>\n

As statements to counter President Woodrow Wilson’s words:<\/span><\/p>\n

„Only the dead have seen the end of war.\u201d<\/em><\/span>
\n~ George Santayana (Spanish author), 1922<\/span><\/p>\n

\u201cThis war, like the next war, is a war to end war.\u201d<\/em><\/span>
\n~ David Lloyd George (British Prime Minister), 1917<\/span><\/p>\n

* * *<\/span><\/p>\n

About the background:<\/span><\/p>\n

This painting is one of a monochrome series of current works that artistically deal with the subject of the coronavirus and the effects. There is an existential threat that is not exactly tangible, remains diffuse and yet dominates everything. What does this pandemic do to the individual? What will remain of this strangely depressing time? Sometimes a look at history helps. In modern history, how did previous generations deal with such dramatic episodes? And we understand, there were dramas of completely different dimensions that humans are able to cope with.<\/em><\/span><\/p>\n

A war of annihilation raged around a hundred years ago (1914 – 1918) that set the entire world on fire and changed everyone: The First World War is the key event of the 20th century and is still having an impact today. The history books contain the names of the generals and the great battles. But what about the normal individual, the one in the trenches as well as the families who struggled for survival back home? How did you think, how did they feel in the midst of an existential threat that they had no control over?<\/span><\/p>\n

The photos of the battlefields of the First World War, in particular the fighting on the Western Front in Flanders, before Verdun and on the Marne and Somme (between German, French, British, American, Belgian, Australian, New Zealand, Portuguese, and Canadian soldiers) formed the con-crete template for these paintings. The monochrome color scheme of the paintings, dominated by Prussian Blue, refers to the historical black and white photos. The letters that the soldiers at the front wrote back home are well documented. And anyone reading this field post today will notice that the men in the armies (and their families) thought and felt alike despite their opposition. And even more, how similar people were to us with all their hopes and fears at the beginning of the 20th century, more than we probably want to admit.<\/span><\/p>\n

Today these battlefields have been renatured. The fields and forests are quiet and peaceful, and almost nothing gives an inkling of the earlier horror, the trenches, and mass armies that generated unprecedented destructive power with modern weapons. What determined the fate of millions of people is now only a fading memory. And this is exactly what the artworks in this series of paintings tell about. There is a fundamental insight: every horror has an end at some point. The chance to shape life individually and freely again will return. The coronavirus will only remain a temporary episode in all of our lives. And in a hundred years at the latest we won’t even remember what is troubling us now, what caused it, whether it was good or bad, and whether it was a medical or a human disaster. The dark fades (too) quickly. Man is a survivor and always looks ahead. And that’s how I want the paintings in this series to be understood, despite the difficult subject, as signs of firm hope.<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

THE SLEEPLESS LONGING FOR THE DISTANT (triptych)<\/strong><\/span>
\nTriptych 2020<\/span>
\n150 (h) x 380 (w) x 4,5 cm<\/span>
\n59,1 (h) x 149,6 (w) x 1,77 in<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

LARGE-SIZED STATEMENT PIECE<\/span>
\nLARGE-SIZED TRILOGY AS TRIPTYCH<\/span><\/p>\n

Over the years, the cycle of life became an important topic in my painting. I’m not talking about the big events and actions. Life is always a collection of many little moments and key experiences. What do we remember when we look back? It is not the complete story of our life from A to Z, it is just a few important breathtaking moments that have shaped and enriched us. Life is a circle and follows the course of the sun: We awaken, we rise, we take a deep breath before we fall and fade again. In this specific artwork I deal with our inner restlessness and longing that sometimes makes it so difficult for us to remain in the moment and enjoy happiness. This triptych combines the following works and should be „read“ from left to right:<\/span><\/p>\n

*<\/span><\/p>\n

AS FAR AS THE CURRENTS CARRY ME<\/span>
\n2020. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 inches<\/span>
\nleft part of the triptych<\/span><\/p>\n

*<\/span><\/p>\n

TEARS FROM DIFFERENT SKIES FILL THE OCEAN<\/span>
\n2020. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 inches<\/span>
\nmiddle part of the triptych<\/span><\/p>\n

*<\/span><\/p>\n

FROM ONE END OF THE WORLD TO THE OTHER<\/span>
\n2020. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 inches<\/span>
\nright part of the triptych<\/span><\/p>\n

* * * *<\/span><\/p>\n

There is not one big cosmic meaning for all, there is only the meaning we each give to our life, an individual meaning, an individual plot, like an individual novel, a book for each person.<\/em><\/span>
\n~ Anais Nin (1903 – 1977)<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

TEARS FROM DIFFERENT SKIES FILL THE OCEAN<\/strong><\/span>
\n2020<\/span>
\n150 (h) x 120 (w) x 4,5 cm<\/span>
\n59,1 (h) x 47,2 (w) x 1,77 in<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

Color-reduced, monochrome painting in Prussian and Phtalo blue, inspired by the picturesque poetry of traditional Japanese and Chinese ink drawings. About the thematic background of the painting:<\/span><\/p>\n

Empires like us<\/span>
\nOne day<\/span>
\nGolden and great<\/span>
\nRise and fall<\/span>
\nAnother day<\/span>
\nAnd all our tears<\/span>
\nFrom different skies<\/span>
\nAre silent witnesses<\/span>
\nAs they fill the ocean.<\/span><\/p>\n

CB\/2020<\/span><\/p>\n

* * * *<\/span><\/p>\n

People of this world are deluded. They’re always longing for something – always, in a word, seeking.<\/em><\/span>
\n~ Bodhidharma<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

THE LAST CALM DAY BEFORE THE STORM<\/strong><\/span>
\n2020<\/span>
\n150 (h) x 120 (w) x 2 cm<\/span>
\n59,1 (h) x 47,2 (w) x 0,79 in<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

About the thematic background of the painting (and also with reference to current social events):<\/span><\/p>\n

You and me<\/span>
\nWe want to live where the light warms us.<\/span>
\nYou dance through the damp grass of late afternoon<\/span>
\nAnd pretend that everything is infinite<\/span>
\nOur love, this summer, the calm world out there<\/span>
\nAnd you may even be right with this view<\/span>
\nYou laugh and the wind plays in your hair<\/span>
\nBut the day is already casting long shadows<\/span>
\nStorm is in the air and it will change everything.<\/span>
\nWe will not stop what is coming<\/span>
\nWe are not gods and no heroes, but only humans<\/span>
\nAnd the storm won’t ask what we were called<\/span>
\nWon’t ask who we were or what we longed for.<\/span>
\nI don’t want to rise and fall<\/span>
\nIt’s too good to give up without resistance.<\/span>
\nSuddenly you stop in your dance through the grass<\/span>
\nYou look me in the eye, full of hope<\/span>
\nWhatever comes, you say, it’s no bigger than we are<\/span>
\nEnjoy THE LAST CALM DAY BEFORE THE STORM<\/span>
\nWho lives by the sword dies by the sword<\/span>
\nSo take off your senseless armor<\/span>
\nAnger or hate are never an answer<\/span>
\nLove me and remember:<\/span>
\n\u201cDarkness cannot drive out darkness:<\/span>
\nOnly light can do that.“<\/span><\/p>\n

CB\/2020<\/span><\/p>\n

* * * *<\/span><\/p>\n

Darkness cannot drive out darkness: only light can do that.<\/em><\/span>
\nHate cannot drive out hate: only love can do that.<\/em><\/span>
\n~ Martin Luther King Jr. (A Testament of Hope)<\/span><\/p>\n

But I know, somehow, that only when it is dark enough can you see the stars.<\/em><\/span>
\n~ Martin Luther King Jr.<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

WHAT LIES BELOW THE SURFACE<\/strong><\/span>
\n2020<\/span>
\n150 (h) x 120 (w) x 2 cm<\/span>
\n59,1 (h) x 47,2 (w) x 0,79 in<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

About the thematic background of the painting:<\/span><\/p>\n

You and me.<\/span>
\nYou lie next to me sleeping<\/span>
\nAnd I hear you breathing evenly<\/span>
\nTrying to guess the places your dreams take you to.<\/span>
\nBut do I know you, do you know me?<\/span>
\nWe are so much more than what we are with us<\/span>
\nSo much more, so very different than on the visible surface.<\/span>
\nLike icebergs drifting through the murky sea of life<\/span>
\nWe do not know about our origin or our goal<\/span>
\nAnd under the waterline, in the dark depth<\/span>
\nAll our consciousness is lost.<\/span>
\nWhat may we be, who may we be?<\/span>
\nBeneath the gentle surface where our soul lives?<\/span>
\nEach of us is our own iceberg.<\/span>
\nI promise you nothing, my love<\/span>
\nBecause in the abysses of the soul<\/span>
\nValleys lurk that are always in shadow.<\/span>
\nNo escape, there is no turning back.<\/span>
\nWHAT LIES BELOW THE SURFACE<\/span>
\nAccompanies us without being asked.<\/span>
\nAnd the current carries us further<\/span>
\nOut into the wild open sea.<\/span><\/p>\n

CB\/2020<\/span><\/p>\n

* * * *<\/span><\/p>\n

We know what we are, but know not what we may be.<\/em><\/span>
\n(Shakespeare: Hamlet, act IV scene V)<\/span><\/p>\n

Cassius to Brutus:<\/span>
\nIt’s not in the stars to hold our destiny but in ourselves.<\/em><\/span>
\n(Shakespeare: Julius Caesar, act I)<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

IN THE LIGHT OF THE VIRGIN MORNING<\/strong><\/span>
\n150 (w) x 120 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 inches<\/span>
\nacrylic and oil on canvas<\/span>
\n2020<\/span><\/p>\n

After a long dark night<\/span>
\nWhen you finally open your eyes<\/span>
\nAfter a heavy leaden time<\/span>
\nWhen your heart can breathe again<\/span><\/p>\n

The sun will rise, shiny golden<\/span>
\nInnocent and far above you<\/span>
\nWhatever was and made you die<\/span>
\nLet it go, now it has a new name<\/span><\/p>\n

Take my hand, let us walk like newborn<\/span>
\nUnder the virgin California sun<\/span>
\nIn the promising first light<\/span>
\nHope is in the magic of the moment.<\/span><\/p>\n

CB\/2020<\/span><\/p>\n

* * *<\/span>
\nKnow where to find the sunrise and sunset times and note how the sky looks at those times, at least once.<\/em><\/span>
\n~ Marilyn vos Savant<\/span><\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

FROM THE PROMISING FIRST LIGHT TO THE VERY LAST LIGHT<\/strong><\/span>
\nTriptych 2020<\/span>
\n380 (w) x 150 (h) x 4,5 cm<\/span>
\n149,6 (w) x 59,1 (h) x 0,79 inches<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

LARGE-SIZED PAINTINGS.<\/span>
\nLARGE-SIZED TRILOGY AS TRIPTYCH.<\/span><\/p>\n

Over the years, the cycle of life became an important topic in my painting. I’m not talking about the big events and actions. Life is always a collection of many little moments and key experiences. What do we remember when we look back? It is not the complete story of our life from A to Z, it is just a few important breathtaking moments that have shaped and enriched us. Life is a circle and follows the course of the sun: We awaken, we rise, we take a deep breath before we fall and fade again. This triptych is the result of long-lasting creative inner struggles (and sleepless nights), combines the following works and should be „read“ from left to right:<\/span><\/p>\n

*<\/span><\/p>\n

The Awakening…<\/span>
\nIN THE LIGHT OF THE VIRGIN MORNING<\/span>
\n2020. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 inches<\/span>
\nleft part of the triptych<\/span><\/p>\n

We are giants in the morning light. We have no questions at the beginning. Every breath is a sunny day and feels like paradise. No doubt in our head and in our hearts. We have no fear of the future. We live and we feel. We do not need more. We believe that these perfect and safe days and nights are endless, that they will last forever. But we have to grow up sooner or later.<\/span><\/p>\n

*<\/span><\/p>\n

The Pulsation…<\/span>
\nGIVE ME HOPE IN HOPELESS DAYS<\/span>
\n2017. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 inches<\/span>
\ncenter part of the triptych<\/span><\/p>\n

Our sun is at its zenith. We are invincible and assert ourselves. We fight and love and love and fight. This is the time of our lives that we will longingly remember in ten and twenty years. We are no longer innocent, but we have the right to make our own mistakes. And we have endless dreams and there are no limits to the world. We laugh and kiss and remember Samuel Beckett: ever try. Ever failed. No matter. Please try again. Failed again. Fail better. – But nothing is forever. The wind will change sooner or later and suddenly there are first clouds in our summer sky.<\/span><\/p>\n

*<\/span><\/p>\n

The Fading…<\/span>
\nON YOUR LAST BREATH BEFORE SUNSET, REMEMBER US<\/span>
\n2020. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 4,5 cm<\/span>
\n47,2 (w) x 59,1 (h) x 1,77 inches<\/span>
\nright part of the triptych<\/span><\/p>\n

Late summer becomes autumn and winter is only a matter of time. The show is not over with one last bang. It is a slow process with countless steps from light to dark. The sun is already setting. But we want to resist, we want to stop the sun from running, if only for a short time. But we are no gods. We are not immortal. And tears fall. We feel too young to say goodbye. But we can be proud because we leave footprints here on earth. And it’s not over now. We begin to accept our fate and enjoy the time that is given to us. Hope and love are the answers that help us through leaden hours. We smile and kiss and drink. And we remember Dylan Thomas: We don’t go gentle into this good night. – There is no real finale, we are only a small part of the circle.<\/span><\/p>\n

* * * *<\/span><\/p>\n

There is not one big cosmic meaning for all, there is only the meaning we each give to our life, an individual meaning, an individual plot, like an individual novel, a book for each person.<\/em><\/span>
\n~ Anais Nin (1903 – 1977)<\/span><\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

AFTER THE RAIN HAS FALLEN<\/strong><\/span>
\nTriptych 2020<\/span>
\n380 (w) x 150 (h) x 2 cm<\/span>
\n149,6 (w) x 59,1 (h) x 0,79 inches<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

LARGE-SIZED PAINTINGS.<\/span>
\nLARGE-SIZED TRILOGY AS TRIPTYCH.<\/span><\/p>\n

About my inspiration:<\/span>
\nDramas are unavoidable. There are so many personal realities and not just one truth. That\u2019s the cause of misunderstandings, contradictions and conflicts. Man is the origin of everything that is good and of everything that is bad in this world. Therefore, I deal in my work with the individual human being and his location in the modern age. Where are the truths of past times, all the certainties and the clear paths? We live in troubled times and lost the basic trust of childhood. We stand between hope and fear, between history and now, between faith and fight. So many different biographies united and separated by passions and longings, fears and doubts. And with dramatic stories that are worth telling. I do not paint new and fictional worlds; the human being is the only center of my artistic attention. Each abstraction starts with him and his little big world, his inner kingdom, his wounded soul. I choose nature as a great metaphor. That\u2019s the way in how I reflect on what I want to tell about people. Nature is powerful, full of inspiring light, harmony and aesthetics. Man becomes small in the face of this beauty, which he can admire, but which he will never reach. And yet there is a connection. Nature is in us. All that defines us as human beings, what lives in us and makes us sleepless, all this has its counterpart in nature and is similar to coasts, mountains, seasons, forests and oceans. And our soul is the most enigmatic of all landscapes in which we wander as seekers and interrogators. My paintings give these journeys a face. Like a chronicler they document my wanderings through the inner landscapes. No doubt this is highly emotional, and it touches me deeply. It\u2019s personal, sometimes dark and archaic, then again romantic and hopeful. But that\u2019s exactly how I want it in my work. It can be an alliance or a duel, but in the end nature will always win.<\/span><\/p>\n

This trilogy AFTER THE RAIN HAS FALLEN combines three very poetic works (from aesthetic standpoints as well as with regard to contents) and should „read“ from left to right:<\/span><\/p>\n

„I WOKE TO THE SOUND OF RAIN I“<\/span>
\n2020. acrylic and oil on canvas<\/span>
\n47,2 (w) x 59,1 (h) x 0,79 inches<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\nleft part of the triptych<\/span><\/p>\n

„MOUNTAINS MUST FALL“<\/span>
\n2020. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,79 inches<\/span>
\ncenter part of the triptych<\/span><\/p>\n

„I WOKE TO THE SOUND OF RAIN II“<\/span>
\n2020. acrylic and oil on canvas<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,79 inches<\/span>
\nright part of the triptych<\/span><\/p>\n

* * * *<\/span><\/p>\n

„Rain is grace; rain is the sky descending to the earth; without rain, there would be no life.“<\/span>
\n~ John Updike (1932 – 2009)<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

linke Seite:<\/em><\/span><\/p>\n

I WOKE TO THE SOUND OF RAIN I<\/strong><\/span>
\n2020<\/span>
\n150 (h) x 120 (w) x 2 cm<\/span>
\n59,1 (h) x 47,2 (w) x 0,79 inches<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

And even if it was only a brief moment<\/span>
\nI woke to the sound of rain<\/span>
\nWith the smell of your hair on the pillow<\/span>
\nI woke to the sound of rain<\/span>
\nIn the heights of a new morning<\/span>
\nThat promised more than it could ever hold<\/span>
\nI woke to the sound of rain<\/span>
\nAnd the still virgin sun bore your name.<\/span><\/p>\n

CB\/2020<\/span><\/p>\n

 <\/p>\n

rechte Seite:<\/em><\/span><\/p>\n

I WOKE TO THE SOUND OF RAIN II<\/strong><\/span>
\n2020<\/span>
\n150 (h) x 120 (w) x 2 cm<\/span>
\n59,1 (h) x 47,2 (w) x 0,79 inches<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

And so it only stayed for a short moment<\/span>
\nI woke to the sound of rain<\/span>
\nWith your goodbye kiss on my lips<\/span>
\nI woke to the sound of rain<\/span>
\nIn the middle of a leaden night<\/span>
\nThat was more real than you would ever be<\/span>
\nI woke to the sound of rain<\/span>
\nOnce again determined to forget you and your name.<\/span><\/p>\n

CB\/2020<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

BEFORE THE TWILIGHT CALLS US BACK TO PORT<\/strong><\/span>
\n2019<\/span>
\n150 (h) x 120 (w) x 2 cm<\/span>
\n59,1 (h) x 47,2 (w) x 0,79 inches<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

Hoist the leaden anchor<\/span>
\nWherever you want to go<\/span>
\nPut the linen sails<\/span>
\nWhatever you want to be<\/span>
\nBefore the winds turn<\/span>
\nBefore autumn comes<\/span>
\nBefore the twilight<\/span>
\nCalls us back to port<\/span><\/p>\n

CB\/2019<\/span><\/p>\n

* * * *<\/span><\/p>\n

\u201cWe know what we are, but not what we may be.\u201d<\/span>
\n~ William Shakespeare<\/span><\/p>\n

 <\/p>\n

\n

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 <\/p>\n

WAITING FOR YOU ON PRISTINE SHORES<\/strong><\/span>
\ntriptych 2019<\/span>
\nacrylic and oil on canvas<\/span>
\n380 (w) x 120 (h) x 2 cm<\/span>
\n149,6 (w) x 59,1 (h) x 0,79 inches<\/span><\/p>\n

The Morning \u2013 The Day \u2013 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:<\/span><\/p>\n

left part:<\/span>
\n– The Morning –<\/span>
\nSEARCHING FOR THE DAWN<\/span>
\nacrylic and oil on canvas, 2019<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,79 inches<\/span><\/p>\n

center part:<\/span>
\n– The Day –<\/span>
\nMAKE ME BELIEVE IN YOUR SUNLIGHT<\/span>
\nacrylic and oil on canvas, 2019<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,79 inches<\/span><\/p>\n

right part:<\/span>
\n– The Evening –<\/span>
\nBEFORE TWILIGHT CALLS US BACK TO PORT<\/span>
\narylic and oil on canvas, 2019<\/span>
\n120 (w) x 150 (h) x 2 cm<\/span>
\n47,2 (w) x 59,1 (h) x 0,79 inches<\/span><\/p>\n

* * * *<\/span><\/p>\n

\u201cYou don\u2019t need to be the tide to rise and fall,<\/span>
\nyou don\u2019t have to be a wave to touch the shore;<\/span>
\njust be a little sand-grain and feel them all.\u201d<\/span>
\n\u2015 Munia Khan<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

TIME IS DANCING FROM SUNSET TO SUNRISE II<\/strong><\/span>
\ntriptych 2018\/19<\/span>
\nacrylic and oil on canvas<\/span>
\n380 (w) x 150 (h) x 2 cm<\/span><\/p>\n

LARGE-SIZED PAINTINGS.<\/span>
\nLARGE-SIZED TRILOGY AS TRIPTYCH.<\/span><\/p>\n

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.<\/span><\/p>\n

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\u2019s no standstill. The clock is ticking. Carpe diem et memento mori. Time is dancing and fading. We all have a fate. But it\u2019s 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\u2019t remember every face and place. But we feel what we were and what we are. Carpe diem et memento mori \u2013 remember that you will die and seize the day.<\/span><\/p>\n

The triptych combines following works and should \u201eread\u201c from left to right:<\/span><\/p>\n

\u201eTRUE AT FIRST LIGHT V\u201c<\/span>
\nacrylic and oil on canvas, 2018, 120 (w) x 150 (h) x 2 cm<\/span>
\nleft part of the triptych<\/span><\/p>\n

\u201eWE\u2019LL MEET AGAIN SOME SUNNY DAY\u201c<\/span>
\nacrylic and oil on canvas, 2017\/18 120 (w) x 150 (h) x 2 cm<\/span>
\ncenter part of the triptych<\/span><\/p>\n

\u201eTO THE EDGE OF THE WORLD AND BEYOND II\u201c<\/span>
\nacrylic and oil on canvas, 2019, 120 (w) x 150 (h) x 2 cm<\/span>
\nright part of the triptych<\/span><\/p>\n

* * * *<\/span><\/p>\n

\u201eScars have the strange power to remind us that our past is real.\u201c<\/span>
\n\u2013 Cormac McCarthy (ex: All the Pretty Horses)<\/span><\/p>\n

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\n

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DAYDREAMING OF AN ENDLESS SUMMER<\/strong> (right\/rechts)<\/em><\/span>
\n150 (w) x 120 (h) x 2 cm \/ 59,1 (w) x 47,2 (h) x 0,79 in<\/span>
\nacrylic and oil on canvas<\/span>
\n2019<\/span><\/p>\n

Be aware I’m dreaming the dark<\/span>
\nA fallen king, a stranded soul<\/span>
\nWithout a throne, without an ark<\/span>
\nSomewhere, somehow<\/span>
\nWanna find shelter from the cold.<\/span><\/p>\n

Can’t you see I’m yearning for light<\/span>
\nA ground to live, a space to be<\/span>
\nA place to keep me warm at night<\/span>
\nSomewhere far from here<\/span>
\nWhere the summer never ends.<\/span><\/p>\n

\/CB<\/span><\/p>\n

* * *<\/span><\/p>\n

„What good is the warmth of summer, without the cold of winter to give it sweetness.“<\/span>
\n~ John Steinbeck<\/span><\/p>\n

* * *<\/span><\/p>\n

EVERY SUMMER HAS A STORY<\/strong> (left\/links)<\/em><\/span>
\n150 (w) x 120 (h) x 2 cm \/ 59,1 (w) x 47,2 (h) x 0,79 in<\/span>
\nacrylic and oil on canvas<\/span>
\n2019<\/span><\/p>\n

When I wake up<\/span>
\nIn the early summer<\/span>
\nWanna wake up with you<\/span>
\nIn my mind and by my side<\/span>
\nWanna face the beauty<\/span>
\nAnd the beast<\/span><\/p>\n

When I wake up<\/span>
\nIn the midsummer<\/span>
\nStill wanna wake up with you<\/span>
\nIn my heart and hand in hand<\/span>
\nWanna face your sunlight<\/span>
\nAnd believe.<\/span><\/p>\n

CB\/2019<\/span><\/p>\n

* * *<\/span><\/p>\n

„Beauty will save the world.“<\/span>
\n~ Fyodor Dostoevsky<\/span><\/p>\n

 <\/p>\n

\n

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 <\/p>\n

DEEP BLUE DAYS DOWN BY THE SEA<\/strong><\/span>
\nquadriptych 2019<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

horizontal hanging (4 paintings side by side in one line):<\/span>
\n540 (w) x 150 (h) x 4 cm \/ 212,6 (w) x 59,1 (h) x 1,6 inch*<\/span>
\nvertical hanging (2 paintings side by side in two lines on top of each other)<\/span>
\n260 (w) x 320 (h) x 4 cm \/ 102,4 (w) x 125,9 (h) x 1,6 inch*<\/span>
\n(*with a hanging distance each of 7,9 in \/ 20 cm between the single paintings)<\/span><\/p>\n

TWO HANGING OPTIONS: HORIZONTAL OR VERTICAL HANGING – 4 LARGE-SIZED PAINTINGS AS QUADRIPTYCH<\/span><\/p>\n

This quadrilogy is inspired by the sea as a never-ending melancholic, bittersweet but beautiful and poetical inspiration. Early in the morning \u2013 at noontime \u2013 in the evening hours \u2013 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:<\/span><\/p>\n

first twilight brightens the sky:<\/span>
\nA LOVE SO DEEP THE OCEAN WOULD BE JEALOUS<\/span>
\nacrylic and oil on canvas, 2019<\/span>
\n59,1 (h) x 47,2 (w) x 1,6 in \/ 150 (h) x 120 (w) x 4 cm<\/span><\/p>\n

promising tenderness in the morning:<\/span>
\nAS WIDE AND AS WAVERING AS THE OCEAN<\/span>
\nacrylic and oil on canvas, 2019<\/span>
\n59,1 (h) x 47,2 (w) x 1,6 in \/ 150 (h) x 120 (w) x 4 cm<\/span><\/p>\n

golden hours at noontime:<\/span>
\nAS TIMES GO BY IN BEAUTY AND MELANCHOLIA<\/span>
\nacrylic and oil on canvas, 2014<\/span>
\n59,1 (h) x 47,2 (w) x 1,6 in \/ 150 (h) x 120 (w) x 4 cm<\/span><\/p>\n

before the nightfall:<\/span>
\nLET THE OCEAN BRING ME BACK SOME MEMORIES OF YOU<\/span>
\nacrylic and oil on canvas, 2019<\/span>
\n59,1 (h) x 47,2 (w) x 1,6 in \/ 150 (h) x 120 (w) x 4 cm<\/span><\/p>\n

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THE FAITHFUL AND THE FALLEN<\/strong><\/span>
\ntriptych 2018<\/span>
\nacrylic and oil on canvas<\/span>
\n149,6 (w) x 59,1 (h) x 0,8 in<\/span>
\n380 (w) x 150 (h) x 2 cm<\/span><\/p>\n

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.<\/span><\/p>\n

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 \u201cTake the Cross\u201d.<\/span><\/p>\n

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 \u201cread\u201d from left to right:<\/span><\/p>\n

„DEUS LO VULT. GOD WILLS IT“<\/span>
\nacrylic and oil on canvas, 2018 \/ 59,1 (h) x 47,2 (w) x 0,8 in \/ 150 (h) x 120 (w) x 2 cm<\/span>
\nleft part of the triptych<\/span><\/p>\n

„THE KINGDOM OF JERUSALEM“<\/span>
\nacrylic and oil on canvas, 2018 \/ 59,1 (h) x 47,2 (w) x 0,8 in \/ 150 (h) x 120 (w) x 2 cm<\/span>
\ncenter part of the triptych<\/span><\/p>\n

„NO MORE SHALL MY MORNING RISE IN OUTREMER“<\/span>
\nacrylic and oil on canvas, 2018 \/ 59,1 (h) x 47,2 (w) x 0,8 in \/ 150 (h) x 120 (w) x 2 cm<\/span>
\nright part of the triptych<\/span><\/p>\n

* * * *<\/span><\/p>\n

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

\u201cYou who love with true love, awake!<\/span>
\nSleep no more! The lark tells us know that the day is here<\/span>
\nAnd tells us in her songs that the day of peace has come<\/span>
\nWhich God, in his great tenderness, will give to those who for love of him<\/span>
\nTake the cross and for their burden suffer pain both night and day<\/span>
\nThen he will see who truly love him.\u201d<\/span>
\n~ from ‚Les chansons de croisade‘ (Songs of the Crusades), unknown poet but written before the poet’s participation in the Fifth Crusade around 121<\/span><\/p>\n

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\n

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THE LIVING AND THE DEAD<\/strong><\/span>
\ntriptych 2018<\/span>
\nacrylic and oil on canvas<\/span>
\n310 (w) x 120 (h) x 4,5 cm<\/span><\/p>\n

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.<\/span><\/p>\n

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 \u2013 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\u2019re standing back to back and defending our well standpoints. We are making mistakes. But we are fighting.<\/span><\/p>\n

The triptych combines following 3 works and should „read“ from left to right:<\/span><\/p>\n

„IF YOU WERE AN EMPIRE ON WHICH THE SUN NEVER SETS II“<\/span>
\nacrylic and oil on canvas, 2018, 100 (w) x 120 (h) x 4,5 cm<\/span>
\nleft part of the triptych<\/span><\/p>\n

„AS IF THE MORNING SUN ENLIGHTENS THE SEA“<\/span>
\nacrylic and oil on canvas, 2013, 100 (w) x 120 (h) x 4,5 cm<\/span>
\ncenter part of the triptych<\/span><\/p>\n

„IF YOU WERE MY MORNING IN THE WILDERNESS“<\/span>
\nacrylic and oil on canvas, 2018, 100 (w) x 120 (h) x 4,5 cm<\/span>
\nright part of the triptych<\/span><\/p>\n

* * * *<\/span><\/p>\n

„The past is not dead. It’s not even past.“<\/span>
\n~ William C. Faulkner (1897-1962)<\/span><\/p>\n

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\n

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Eine meiner sehr gro\u00dffl\u00e4chigen Kommissionsarbeiten, angefertigt f\u00fcr einen britischen Sammler in 2018. Hier vor Ort das fertiggestellte Gem\u00e4lde an seinem endg\u00fcltigen Platz im Herzen von London, mit Blick auf den Tower Of London.<\/span><\/p>\n

OF LOVE AND HOPE AT THE END OF SUMMER ist ein XXL-Gem\u00e4lde auf purem Leinen, fertiggestellt nach zwei kreativen und sehr herausfordernden Monaten im Sommer 2018. Es ist jedesmal wieder gleicherma\u00dfen aufregend und befriedigend, in diesen Dimensionen arbeiten zu k\u00f6nnen. Wirklich einer meiner Favoriten und irgendwie auch ein weiterer Nachweis, dass meine Malerei und mein k\u00fcnstlerisches Statement (auch) mit dem sehr gro\u00dfen Format bestens harmonieren. Ich bin dankbar f\u00fcr diese Art von Erfahrungen und jederzeit an weiteren Kommissionsauftr\u00e4gen f\u00fcr Gro\u00dfgem\u00e4lde interessiert (f\u00fcr weitere Details kontaktieren Sie mich bitte).<\/span><\/p>\n

OF LOVE AND HOPE AT THE END OF SUMMER<\/strong><\/span>
\n350 (w) x 215 (h) cm \/ 138 (w) x 85 (h) inch<\/span>
\n2018 \/ acrylic and oil on canvas<\/span><\/p>\n

Wake me gently<\/span>
\nBefore darkness<\/span>
\nWhen love still lives<\/span>
\nBefore eventide<\/span>
\nBefore twilight<\/span><\/p>\n

Kiss me softly<\/span>
\nBefore we fall<\/span>
\nWhen hope still burns<\/span>
\nBefore autumn<\/span>
\nBefore first frost<\/span><\/p>\n

Touch me deeply<\/span>
\nWhisper quietly<\/span>
\nA forever poem<\/span>
\nOf love and hope<\/span>
\nWhen summer ends.<\/span><\/p>\n

CB\/2018<\/span><\/p>\n

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\n

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 <\/p>\n

LATE IN THE SUMMER<\/strong><\/span>
\ntriptych 2018 – three studies<\/span>
\nvertical hanging (on top of each other): 120 (w) x 250 (h) x 2 cm<\/span>
\noptional horizontal hanging (side by side): 380 (w) x 80 (h) x 2 cm<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

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\u2019t want the summer and sunny light to end but late summer turns to autumn, and the winter is just a question of time. It\u2019s 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\u2019s 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\u2019t go gentle into that good night. There is no real final, we are just a small part of the circle.<\/span><\/p>\n

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):<\/span><\/p>\n

FROM SUMMER TO FALL I (study)<\/span>
\nacrylic and oil on canvas, 2018, 120 (w) x 80 (h) x 2 cm<\/span>
\nupper\/left part of the triptych<\/span><\/p>\n

OF LOVE AND HOPE AT THE END OF SUMMER (study)<\/span>
\nacrylic and oil on canvas, 2018. 120 (w) x 80 (h) x 2 cm<\/span>
\nmedium\/center part of the triptych<\/span><\/p>\n

FROM SUMMER TO FALL II (study)<\/span>
\narylic and oil on canvas, 2018, 120 (w) x 80 (h) x 2 cm<\/span>
\nlower\/right part of the triptych<\/span><\/p>\n

* * * *<\/span><\/p>\n

„The morning had dawned clear and cold, with a crispness that hinted at the end of summer.“<\/span>
\n~ George R.R. Martin<\/span><\/p>\n

„\u2026and all at once, summer collapsed into fall.“<\/span>
\n~ Oscar Wilde<\/span><\/p>\n

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\n
\n
\n
\n

 <\/p>\n

BLOOD WILL HAVE BLOOD III<\/strong><\/span>
\n2018<\/span>
\n150 (h) x 120 (w) x 4,5 cm<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

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).<\/span><\/p>\n

Macbeth to Lady Macbeth:<\/span>
\n„It will have blood, they say; blood will have blood.“<\/span>
\n(Shakespeare: ex Macbeth, act III scene IV)<\/span><\/p>\n

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.<\/span><\/p>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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IN THE QUIET AND PROMISING MORNING<\/strong><\/span>
\n2018<\/span>
\n150 (w) x 120 (h) x 4,5 cm<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

Await my return from the starry sky<\/span>
\nIn the quiet and promising morning<\/span>
\nWatch for me on the mountain<\/span>
\nI will search for you until I find you<\/span>
\nThrough hundred worlds and lifetimes<\/span>
\nTo the edge of the world and beyond.<\/span><\/p>\n

* * * *<\/span><\/p>\n

\u201cOne must still have chaos on oneself to be able to give birth to a dancing star.\u201d<\/span>
\n~ Friedrich Nietzsche<\/span><\/p>\n

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AT DEEPEST NIGHT WHEN THE SEA IS CALLING<\/strong><\/span>
\n2018<\/span>
\n150 (w) x 120 (h) x 4,5 cm<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

At deepest night<\/span>
\nWhen my soul is aching<\/span>
\nAt deepest night<\/span>
\nWhen the sea is calling<\/span>
\nYou can find me in the dark<\/span>
\nAnd whatever fate will bring<\/span>
\nNo light will break my ark<\/span><\/p>\n

* * * *<\/span><\/p>\n

\u201cThe fishermen know that the sea is dangerous and the storm terrible, but they have never found these dangers sufficient reason for remaining ashore.“<\/span>
\n~ Vincent Van Gogh<\/span><\/p>\n

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THE DARK SIDES OF OUR EMERALD GREEN MOON<\/strong><\/span>
\ndiptych 2018<\/span>
\nacrylic and oil on canvas<\/span>
\n250 (w) x 150 (h) x 4,5 cm<\/span><\/p>\n

About my inspiration and thoughts:<\/span><\/p>\n

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.<\/span><\/p>\n

The diptych combines following 2 works and should „read“ from left to right:<\/span><\/p>\n

„LEAVE A CANDLE IN THE WINDOW“<\/span>
\nacrylic and oil on canvas, 2018, 120 (w) x 150 (h) x 4,5 cm<\/span>
\nleft part of the diptych<\/span><\/p>\n

„LONG AS I CAN SEE THE LIGHT“<\/span>
\nacrylic and oil on canvas, 2018, 120 (w) x 150 (h) x 4,5 cm<\/span>
\nright part of the diptych<\/span><\/p>\n

* * *<\/span><\/p>\n

„Truth will come to light.“<\/span>
\n~ William Shakespeare (The Merchant of Venice, Act 2, scene 2)<\/span><\/p>\n

„The instruments of darkness tell us truths.“<\/span>
\n~ William Shakespeare (Macbeth, Act 1, scene 3)<\/span><\/p>\n

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THE SUMMER WHEN WE WERE QUEEN AND KING<\/strong><\/span>
\n2018<\/span>
\n150 (w) x 120 (h) x 4,5 cm<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

You and me<\/span>
\nDo you remember<\/span>
\nSweet love, so pristine<\/span>
\nDays and nights of summer<\/span>
\nWhen you were queen<\/span><\/p>\n

Me and you<\/span>
\nDo you remember<\/span>
\nSweet love, poisoned sting<\/span>
\nChill and heat of summer<\/span>
\nWhen I was king<\/span><\/p>\n

Sometimes<\/span>
\nI still remember<\/span>
\nSweet love, fading bloom<\/span>
\nInside a doomed summer<\/span>
\nYour face and your perfume<\/span><\/p>\n

CB\/2018<\/span><\/p>\n

* * * *<\/span><\/p>\n

In other and very well-known words:<\/span><\/p>\n

\u201cI will remember the kisses<\/span>
\nAnd how you gave me<\/span>
\nEverything you had<\/span>
\nAnd how I offered you<\/span>
\nWhat was left of me.\u201d<\/span><\/p>\n

~ Charles Bukowski<\/span><\/p>\n

\n

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A PLACE CALLED GOLGATHA<\/strong><\/span>
\n2017\/2018<\/span>
\n100 (w) x 120 (h) x 2 cm<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

Golgatha was, according to the Gospels, a site immediately outside Jerusalem’s walls where Jesus was crucified. \u201cThey came to a place called Golgotha.\u201d(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:<\/span><\/p>\n

And when they came to a place called Golgotha, which means Place of a Skull (Matthew 27:33).<\/span><\/p>\n

Then they brought Him to the place Golgotha, which is translated, Place of a Skull (Mark 15:22).<\/span><\/p>\n

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).<\/span><\/p>\n

Carrying his own cross, he went out to the place of the Skull – which in Aramaic is called Golgotha – (John 19:17).<\/span><\/p>\n

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WE\u2019LL MEET AGAIN SOME SUNNY DAY<\/strong><\/span>
\n2017\/2018<\/span>
\n150 (w) x 120 (h) x 2 cm<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

The inspiration: I was thinking about losses and goodbyes in dark times. But we shouldn\u2019t give up. There is hope even in a hopeless world to find the way back to the light and love. The British song \u201cWe\u2019ll Meet Again\u201d, 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.<\/span><\/p>\n

* * * *<\/span><\/p>\n

We’ll meet again<\/span>
\nDon’t know where<\/span>
\nDon’t know when<\/span>
\nBut I know we’ll meet again some sunny day<\/span>
\nKeep smiling through<\/span>
\nJust like you always do<\/span>
\n‚Til the blue skies<\/span>
\nDrive the dark clouds far away<\/span><\/p>\n

(lyrics by Ross Parker\/Hughie Charles 1939)<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

AS IF THE MORNING SUN ENLIGHTENS THE SEA<\/strong><\/span>
\n2017\/2018<\/span>
\nacrylic and oil on canvas<\/span>
\n120 (h) x 100 (w) x 4,5 cm<\/span><\/p>\n

From the beginning<\/span>
\nUntil the end<\/span>
\nOf time<\/span>
\nOf love<\/span>
\nOf us<\/span><\/p>\n

Stand by me<\/span>
\nAs if<\/span>
\nYour morning sun<\/span>
\nConquers the mist<\/span>
\nEnlightens my sea<\/span><\/p>\n

Be with me<\/span>
\nAs if<\/span>
\nYour warming ray<\/span>
\nEnriches the dawn<\/span>
\nGold-plates my day<\/span><\/p>\n

From the end<\/span>
\nUntil a new beginning.<\/span><\/p>\n

* * * *<\/span><\/p>\n

\u201cThe sun is new each day.\u201d<\/span>
\n~ Heraclitus<\/span><\/p>\n

\u201cFollowing the light of the sun, we left the Old World.\u201d<\/span>
\n~ Christopher Columbus<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

IN THE LAND OF GODS AND MONSTERS<\/strong><\/span>
\n2017<\/span>
\n150 (h) x 120 (w) x 4,5 cm<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

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?‘<\/span><\/p>\n

* * *<\/span><\/p>\n

„To live is to suffer,<\/span>
\nto survive is to find some meaning in the suffering.“<\/span>
\nFriedrich Nietzsche<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

REMEMBER THE DREAMS WE ONCE HAD<\/strong><\/span>
\ntriptych 2017<\/span>
\nacrylic and oil on canvas<\/span>
\n380 (w) x 120 (h) x 4,5 cm<\/span><\/p>\n

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?<\/span><\/p>\n

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.<\/span><\/p>\n

* * * *<\/span><\/p>\n

LARGE-SIZED PAINTINGS.<\/span>
\nLARGE-SIZED TRIOLOGY.<\/span><\/p>\n

The triptych combines following works and should „read“ from left to right:<\/span><\/p>\n

left part:<\/span>
\nIN THE LAND OF GODS AND MONSTERS<\/span>
\nacrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm<\/span><\/p>\n

center part:<\/span>
\nAWAKENING BENEATH AUTUMN SKIES<\/span>
\nacrylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm<\/span><\/p>\n

right part:<\/span>
\nIN FLANDERS FIELDS II<\/span>
\narylic and oil on canvas, 2017, 120 (w) x 150 (h) x 4,5 cm<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

IN FLANDERS FIELDS II<\/strong><\/span>
\n2017<\/span>
\n150 (h) x 120 (w) x 4,5 cm<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

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 \u2013 1918):<\/span><\/p>\n

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.<\/span><\/p>\n

* * * *<\/span><\/p>\n

„In Flanders fields the poppies blow<\/em><\/span>
\nBetween the crosses, row on row…“<\/em><\/span><\/p>\n

(composed by Lieutenant Colonel John McCrae<\/span>
\nat the battlefront on May 3, 1915<\/span>
\nduring the second battle of Ypres, Belgium)<\/span><\/p>\n

 <\/p>\n

\n

\"\"<\/p>\n

 <\/p>\n

AWAKENING BENEATH AUTUMN SKIES<\/strong><\/span>
\n2017<\/span>
\n150 (h) x 120 (w) x 4,5 cm<\/span>
\nacrylic and oil on canvas<\/span><\/p>\n

\u201cThere 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.\u201d<\/span>
\n\u2015 Paulo Coelho (ex: The Fifth Mountain)<\/span><\/p>\n

 <\/p>\n

\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

  A U S G E W \u00c4 H L T AKTUELLE ARBEITEN VORGESTELLT. Ich m\u00f6chte an dieser Stelle auf einige meiner aktuellen Arbeiten eingehen. Nat\u00fcrlich handelt es sich um eine rein subjektive und unvollst\u00e4ndige Auswahl, f\u00fcr einen kompletten \u00dcberblick meines \u0152uvre verweise ich auf die GEM\u00c4LDE-GALERIE. Ich bin sehr dankbar f\u00fcr die F\u00e4higkeit, in […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-383","page","type-page","status-publish","hentry"],"yoast_head":"\nNEUE WERKE - CHRISTIAN BAHR - zeitgen\u00f6ssischer Maler und Zeichner<\/title>\n<meta name=\"description\" content=\"Christian Bahr, contemporary art, zeitgen\u00f6ssischer deutscher Maler und Zeichner seit \u00fcber 30 Jahren, mit weltweiten Verk\u00e4ufen und internationalen Ausstellungen\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.7and1lives.de\/paintingdeutsch\/neuewerke\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"NEUE WERKE - 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