Germany - Paintings

Rudolf Kosow’s Not So Bad is a haunting contemporary surrealistic oil painting that evokes the aesthetic and ethos of Americana, tinged with an unsettling air of mystery and nostalgi...

"Ocean Piece" (Seestück Kraftlinie) is a new 2024 unique acrylic on canvas painting by German mid-career artist Michael Pröpper. It depicts an ocena wave with money (20 euro bills) a...

The painting, executed in a mixed technique, depicts a beautiful young woman. Her closed eyes emphasize the overall atmosphere of relaxation. Natural beauty, graceful figure, and the...

In this still life, autumn invites you in like an old friend, offering warmth and comfort. A simple white cup of hot coffee sits beside a vase filled with vibrant red leaves, and the...

"Birdscpae I" is a new 2024 unique acrylic on canvas painting by German mid-career artist Michael Pröpper. It debicts an abstract expressionist contemporary landscape with birds in f...

"Sky" is a 2022 unique oil on canvas painting by German mid-career artist Michael Pröpper. Comes with certificate on back. 90 x 140 cm It depicts a l...

There's A Storm Front Coming (Abstract painting) Acrylic / mixed media on canvas - Unframed. This work is exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resist...

Drama Queen (Abstract painting) Acrylic / mixed media on linen - Unframed. This work is exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resistant tube. This met...

There are many good resolutions at the turn of the year; people promise a lot to themselves and others. These promises are often forgotten after a week. But sometimes people stand by...

keywords; surrealism, portrait, oil painting, earth tones, figurative painting, strangeness, contemporary surrealistic, unsettling, contemporary figurative painting, dreams, symbolic...

In my pictures I try to combine the visual and the conceptual. For me, drawing is a medium of knowledge which, beyond direct expression, makes visible material and immaterial forces,...

Well worth the hype (Abstract painting) Mixed media collage with LED lights on canvas - Unframed Artwork exclusive to IdeelArt. Knaut builds her compositions slowly over time, ad...

39.4 inch x 39.4 inch x 1.7 inch. Acrylic on canvas Original / Unique - - signed and dated - - Certificate of authenticity - - Painted in Germany - Ready to hang High quality, ...

Katharina Hormel creates minimalistic landscape paintings featuring everyday scenes of life. Her art often portrays people engaged in their daily activities, such as taking a leisure...

Superbe original painting on canvas depicting a young ballerina performing a trick while onlookers contemplate perplexed to her prowess. keywords; americana, surrealism, ballerina, ...

This abstract painting with the main color tone of blue has a size of 40x40 cm. It was painted on canvas with acrylic paints, texture paste, and a palette knife. In this painting, I...

"Permeation Purr" is a captivating painting that explores the interplay between sound, cats, and botanical imagery in a mesmerizing blend of black, blue, and white hues. The canvas e...

oil on hardboard Signed lower left 63x47 cm Albert Herzfeld (1865–1943) was a noted German painter Life, Work & Persecution Originally, Herzfeld was active in his family’s text...

Reinhard Bartsch 1927 Berlin - 1990 Berlin oil on canvas 55x 40 cm signed lower right Reinhard Bartsch (1927–1990) was a German painter and graphic artist, born and active in B...

A performance piece made with musician Makoto Sakamoto at Loophole on 30.11.22. Static circles, static noise, static lines. “We didn’t discuss what we were going to do beforehan...

The first plein air painting of the season 2022, painted at the Schnakenpohl, a pool near my Studio. The Schnakenpohl is a relict from the ice age. For me one of the most beautiful s...

"Look at a tree, a flower, a plant. Let your awareness rest upon it. How still they are, how deeply rooted in Being. Allow nature to teach you stillness." - Eckhart Tolle Abstract t...

Pink Noise (Abstract Expressionism painting) Acrylic/mixed media on linen - Unframed. This work is exclusive to IdeelArt. Daniela Schweinsberg is a German abstract artist whose ly...

"Look at a tree, a flower, a plant. Let your awareness rest upon it. How still they are, how deeply rooted in Being. Allow nature to teach you stillness." - Eckhart Tolle Abstract t...

Minimalism passion Neutral colors that you can't go wrong with and that definitely always looks classy Abstraction 70 x 200 cm / 28“ x 78“ in Acrylics/mixed media on canv...

In this painting, the painter tries to portray the young sleeping, lying and oversized figure of a woman as part of the landscape. Who likes to be this person and what is she doing i...

We love Rudolf's latest series. The artist says about “Stranger”; "Normally one would hardly take notes of an inconspicuous, black kitten in everyday life...

"Heavenly", is a 2025 unique abstract acrylic on canvas work by German artist Horst Güntheroth. 160 x 120 cm, certificate of authenticity on back. Dr. Horst Güntheroth (1959), is a ...

My work reflects the lightness of impressionism paired with minimalist clarity. The oil colors bring warmth and a nostalgic touch to the painting. Through gentle brushstrokes and mut...

K1959 (Abstract work on paper) Ink on paper - unframed Harald Kröner works thoroughly with paper, of which he is a notorious collector. Harald Kröner's work is very much about perc...

"Look at a tree, a flower, a plant. Let your awareness rest upon it. How still they are, how deeply rooted in Being. Allow nature to teach you stillness." - Eckhart Tolle Abstract t...

"BrokenChain", is a unique abstract acrylic on canvas work by German artist Horst Güntheroth. 100 x 100 cm, certificate of authenticity on back. Dr. Horst Güntheroth (1959), is a Ge...

"Silver Lining", is a unique acrylic on canvas work by German artist Horst Güntheroth. It features horizontal stripes (reminiscent of sunsets on water and foam), playing with abstrac...

Caeser Bimmerman, oil painting, 1885, snowy winter landscape with deer and birds. Hunting scene. The romantic forest landscape in winter is a recu...

"Look at the flowers. It is simply unbelievable how happy flowers are." -Osho Capturing delicacy through floral imagery, the meticulous strokes and carefully chosen colors create a ...

"Look at the flowers. It is simply unbelievable how happy flowers are." - Osho The painting, titled "Garden of Harmony," comprises four parts, each measuring 110x30x4 cm (43.3x11.8x...

"Look at the flowers. It is simply unbelievable how happy flowers are." -Osho The painting, titled "Movement," consists of three parts measuring 110x20x4 cm (43.3x7.9x1.6 inches), 1...

"Sweet Vibes" encapsulates a distinctive quality that distinguishes it within the realm of art. This piece, measuring 100x40x4 cm (39.4 x 15.7 x 1.7 inches), is not only a standalone...

"Look at the flowers. It is simply unbelievable how happy flowers are." -Osho Capturing delicacy through floral imagery, the meticulous strokes and carefully chosen colors create a ...

Even if it doesn’t look like it (Abstract painting) Acrylic, oil, pastels, spraypaint on canvas - Unframed. This artwork is exclusive to IdeelArt. Knaut builds her compositions sl...

The painting “Still Life with Crab” combines elements of piquancy and intrigue. The central place is occupied by a vase of flowers, depicted in the fo...

The Chaos Of The Soul And The Physical Destruction Of The Self Oil paint is layered and swirled to express movement and emotions through colour. This is part of the artist’s on...

Jürgen Möbius (*1939 Großenhain), Black form surfaces on red painterly ground. Oil on hardboard, 50 x 60 cm, 51 x 61 cm (frame), signed "Möbius" and dated "[19]81". - Small paint chip in upper right corner, otherwise good condition. Gallery frame with slight signs of wear. - The Double Origin of Painting - About the artwork In the painting black, optically dominant forms can be seen, which in their arrangement at right angles to each other have a proto-architectural character. They are, so to speak, always already given original forms. At the same time, however, the forms are surfaces of color, and thus genuine painting. In order to make the painterly character of the painting clearly visible, Jürgen Möbius has applied red-toned strokes that have preserved the brushstroke. These are traces of an act of painting. The diagonal layers of red strokes merge into the upper white area, which oscillates between brushwork and homogeneous flatness, while the central white field, into which a black bar protrudes, has a decidedly planar character. The sharp contrast between the autonomous black surface forms, reminiscent of Kasimir Malevich, and the free brushstroke, which is not bound to any motif, creates an enormous pictorial tension, which is conveyed by the white, but at the same time is intensified by the virulent black-and-white contrast. In addition to the tense contrast of form and color, there is also a contrast between the dynamic of the brushstroke and the static of the black surface forms, whereby the diagonal alignment of these forms also gives the static a dynamic, while at the same time the layered brushstrokes have something static about them. Added to this structure of tension is the fact that the painting ground, the unprepared hardboard, is clearly present as such in the picture. In this way, it becomes clear once again that we are not dealing with an autonomous cosmos of form and color, as in Suprematism, but with a painting created by the artist's hand. With this work, Jürgen Möbius explores the possibilities of painting and thematizes painting in terms of its twofold origin, the trace of the guided brush and the painterly form, which gains its independence precisely by absorbing the brushstroke into itself. About the artist From 1959 to 1965 Jürgen Möbius studied painting at the University Institute for Art and Work Education in Mainz. He also studied philosophy and art history at the University of Mainz. Afterwards he worked as a freelance artist in Mainz. At first, Möbius created material reliefs and installations, then, around 1974, he turned increasingly to conceptual art and added cinematic means. During this phase he wrote the manifesto-like essay "Principles of Supranatural Landscape" (1979). From 1981 on, Möbius concentrated on painting and searched for artistic ways to "treat intellectual and sensual perception equally in the fusion of representational and abstract pictorial elements" (Wolfgang Zemter). He found inspiration on his study trips to Thailand and Sri Lanka. "The pure painting of Jürgen Möbius flows through us as a timeless expression of memory and energy, ploughing our perception and bringing us the happiness of seeing authentic, immovable form. - Philippe Büttner Selection of solo exhibitions 1969 Galerie Würzner, Düsseldorf / Galerie Gurlitt, Mainz 1972 Städtische Galerie, Mainz 1973 Galerie Schloss Ringenberg Rathaus, Kleve 1974 Röderhausmuseum, Wuppertal 1976 Galerie Glasing, Osnabrück / Städtische Galerie, Herne 1977, 1997, 2004 Märkisches Museum, Witten 1979 Studio M, Bamberg / Staatstheater, Darmstadt 1980 Galerie Stolànovà, Wiesbaden / Mittelrheinmuseum, Koblenz 1982 Galerie Dornhöfer, Mainz 1984 Galerie Neumühle, Schlangenbad 1985 Landesmuseum, Mainz / Kunstverein, Ludwigshafen / Nassauischer Kunstverein, Wiesbaden 1986 Museum, Bochum / Galerie der Stadt Iserlohn 1987, 1990 Galerie Klaus Kiefer, Essen 1987, 2000 Galerie Ulrike Buschlinger, Wiesbaden 1988 Kunsthalle Darmstadt 1988, 1992, 1996, 1999 Galerie Leonhard, Basel 1992, 2002 Galerie Zulauf, Freisheim 1994 Galerie Remy, Vallendar 1995 Sendezentrum des Zweiten Deutschen Fernsehens, Mainz 2001 Collegium oecumenicum, Bamberg / MVB Forum für Kultur und Wirtschaft, Mainz 2006 Adam Gallery, London Selection of group exhibitions 1969 ‘International Graphic Arts’, Galerie Dalléas Bordeaux, Paris 1975 ‘Deutscher Künstler-Bund’, Dortmund 1979 ‘Man and man’s Images’, Märkisches Museum Witten 1980 ‘Love-Dokuments of our Time’, Art Hall Darmstadt and Art Association Hannover 1982 ‘Work - Progress – Position’, Nassau Art Association Wiesbaden 1983 ‘Principle Hope – Utopic Aspects in Art and Culture of the 20th Century’, Museum Bochum 1986 ‘Selfportraits’, Gallery Klaus Kiefer Essen 1987 ‘The Dying and Death’, Gallery Klaus Kiefer Essen 1989 ‘Where are You, Revolution – Freedom, Liberty, Egality, Fraternity to-day’, Museum Bochum 1990 ‘Flight – a Problem within the Memory of Man’, Kunsthalle Darmstadt ‘Art and War 1939 – 89’, House of Cultures Berlin 1991 ‘Material and Form’, Pillnitz Castle Dresden and Pfalz Gallery Kaiserslautern 1995 20 Years Exhibitions, Chrämerhuus Langenthal, Schweiz 1998 ‘Works on Paper’, Klaus Kiefer Gallery Essen 2000 ‘Acquisitions 1900 – 2000’, Mittelrhein-Museum Koblenz 2001 ‘Strange Pictures’, Klaus Kiefer Gallery Essen 2002 ‘10 Years Buschlinger Gallery’, Buschlinger Gallery Wiesbaden 2004 ‘Eternal Space – Pictures and Sculptures’, Dome of Bamberg 2005 Art Fair Chicago, Adam Gallery, London Selected Bibliography Mittelrheinisches Landesmuseum (Hrsg.): Jürgen Möbius - Neue Bilder, Mainz 1985. Kunstverein Darmstadt (Hrsg.): Jürgen Möbius. Bilder 1985 - 1988. Kunsthalle Darmstadt, 26. Juni - 14. August 1988. Red. Dorit Marhenke, Lyrik Marcus Schiltenwolf, Düsseldorf 1988. Gabriele Prusko (Hrsg.): Jürgen Möbius. Mit Texten von Philippe Büttner und Ralph Mieritz, Basel 1992. Wolfgang Zemter (Hrsg.): Jürgen Möbius - Aktuelle Arbeiten. Märkisches Museum der Stadt Witten, Bönen 1999. Wolfgang Zemter (Hrsg.): Jürgen Möbius. Flieger in meinem Zimmer und Beruhigte Zone, Bönen 2004. Dama Gallery...

“Love isâ€

"Nothing superfluous." The painting is inspired by spring, when everything is just beginning to awaken, like man and his awakening, when everything superfluous is cut off.

acrylic paintings on canvas 100x100x4,5 cm (39.37 x 39.37 x 1.77 inch) Ready to hang High quality, stretched, deep edges painted canvas (100% cotton) Premium acrylic colours (made in...

"Permeation" is a captivating painting that invites viewers to explore the interconnectedness of nature within a serene garden setting. Bathed in hues of white, blue, and subtle hint...

Dashing into the day 3 (Abstract work on paper) Acrylics, ink and oil on paper - Unframed. This artwork is exclusive to IdeelArt. Knaut builds her compositions slowly over time, a...

"Zebras in Bright Color Light" is a new 2024 unique acrylic on canvas painting by German mid-career artist Michael Pröpper. It debicts walking zebras in layers of color. It has almo...

In this oil painting, expressionism and impressionism merge with symbolic elements. I have passionately applied every brushstroke to depict emotions and memories. The powerful splash...

"Dream of Happiness" is an expressive abstract diptychon on paper. The all in all size is 61 cm / 24 inches W x 86 cm / 33,9 inches H. Both paintings itself have the size 61 cm / 24 ...

Jan Hillebrand Wijsmuller (1855 Amsterdam - 1925 ibid.), Late Summer River Landscape, oil on canvas, relined, 34 x 56 cm (inside measurement), 43 x 64 cm (frame), signed J[an] H[illebrand] Wijsmuller at lower right. - in good condition, the frame with isolated bumped spots - Realistic Impression - About the artwork The panoramic landscape format shows a river landscape, with the course of the river, which curves to the right, leading the eye into the depths of the picture and tempting it to continue the landscape in the imagination beyond the visible area. At the same time, however, the fact that the landscape is not visible through the bend in the river focuses our gaze on the entirety of the landscape depicted, without prompting us to focus on distant details. Accordingly, the brushstroke is not designed to render details with realistic precision. In the front left area of the river there is even a completely free brushwork, trained by Impressionism, which nevertheless remains committed to representational and convincingly suggests the movement of the water. Regardless of the distance of the observer, the entire picture is painted with the same broad brushstroke, so that the landscape is given as an impression. And yet this impression is not ephemeral, as in the case of French Impressionism, to put it exaggeratedly, but reveals to us the essence of the landscape in all its richness. This is why the Dutch variant of Impressionism is always also a realism, although the pictures appear less progressive, but still contain a dimension of landscape painting that is lost with progress. In the impression, the reality of the landscape is revealed, and this happens as we experience the landscape in the visual impression. Wijsmuller does not depict houses or people in order to allow the experience of the landscape to fully unfold. The experience is determined first and foremost by the river, which does not flow into the picture from our point of view, but towards us. Where the river begins to bend, the water is churned by a rapids. Toward us, the riverbed widens and the water comes to rest, covering the entire width of the foreground like a mirror. The stillness of the water corresponds to the evening mood of the late summer landscape, in which the warm tones of the evening light blend with the yellow and brown tones of the plants. A gentle, almost idyllic reality, carried by the brushstroke, yet animated by a liveliness that is also made visible by the brushstroke. The broad, dynamically placed brushstrokes evoke the movement of the treetops and animate even the immobile reeds, while the trunks on the right bank, executed in virtuoso white strokes that seem like markings, make the sunlight shine. On the other bank, a carpet of light also spreads out, its energetic effect again expressed in the brushstroke. The dynamic of the landscape is further enhanced by the complementary color contrasts between the greens, yellows, and browns on the one hand and the blue of the all-encompassing sky on the other. A contrast that is intensified by the reflection in the water. The evening coming to rest of the landscape is thus at the same time an all-encompassing contrasting and yet in itself harmonious movement. This reality becomes accessible to us as an experience in the impression of the landscape. About the artist Jan Hillebrand Wijsmuller entered the Royal Academy of Arts in Amsterdam in 1876 and studied under the innovative Professor August Allebé, who was famous for the Amsterdam Impressionism, also known as the Allebé School. In 1877, Wijsmuller transferred to the Hague Academy of Art, and thus to the Hague School, and then completed his studies at the Brussels Academy of Art. Returning to the Netherlands, Wijsmuller opened his own studio in Amsterdam. In 1883 he won the prestigious Young Artist Award, donated by Willink van Collen, which made Wijsmuller a well-known and sought-after artist. Wijsmuller was a member of the Societät Arti et Amicitiae Amsterdam and the Pulchri Studio in The Hague. Wijsmuller belongs to the second generation of the Hague School. While Vincent van Gogh described the protagonists of the first generation to his brother Theo as "the great gray people," the second generation, and Wijsmuller in particular, used a much more colorful palette. His oeuvre makes him a major player in Dutch Impressionism...

Jürgen Möbius (*1939 Großenhain), Tectonic Tension. Oil on hardboard, 47.5 x 60 cm, 49 x 61.5 cm (frame), signed lower right "Möbius" and dated "[19]81". - Upper left corner with a small chip, light scratches and a little rubbed in places. Provisional gallery frame with traces of use. - Archetypes of Painting - About the artwork The form structure in front of the eye is overlapped by the frame. Thus, the frame does not open up a space in which something is presented, but rather shows the seemingly arbitrary section of a comprehensive context that cannot be framed as such. We see forms that stand in a structure of tension with each other, whereby the individual black and brown forms, which continue almost endlessly beyond the frame, already show a tension in themselves, since they are not only forms, but also surfaces - form surfaces, while the light blue surface ground is at the same time forms that appear as surface forms. The formed surfaces and surface forms are nested within each other and form a structure that encompasses all elements. The angular arrangement of the black and brown shaped surfaces gives the structure a tectonic character. The tension is thus heightened to the point of paradox, since the black shape at the front is overlapped by the brown shape at the bottom in the center of the picture, which would be impossible in real space. It is precisely through this "paradox" that Möbius demonstrates that the paradoxical is reality within painting. It is, so to speak, the most original possibility of painting, which distinguishes it from the other arts. In combination with the tectonic formations, Jürgen Möbius creates an archaic primordial painting, which, however, should not be confused with the autonomous color and form cosmos of Suprematism à la Kasimir Malevich. Instead of homogeneous, perfectly colored forms, here the colors are deliberately applied unevenly, and the light blue is mixed with the brown in a manner determined by the brushstroke. At the edges of the surface forms, the uneven application of paint allows the wood of the unprimed hardboard to show through. In this way, Möbius illustrates that we are dealing with a painting that has been created by an act of painting - an act, however, that takes hold of the original principles of painting and thus realizes painting as such. About the artist From 1959 to 1965 Jürgen Möbius studied painting at the University Institute for Art and Work Education in Mainz. He also studied philosophy and art history at the University of Mainz. Afterwards he worked as a freelance artist in Mainz. At first, Möbius created material reliefs and installations, then, around 1974, he turned increasingly to conceptual art and added cinematic means. During this phase he wrote the manifesto-like essay "Principles of Supranatural Landscape" (1979). From 1981 on, Möbius concentrated on painting and searched for artistic ways to "treat intellectual and sensual perception equally in the fusion of representational and abstract pictorial elements" (Wolfgang Zemter). He found inspiration on his study trips to Thailand and Sri Lanka. "The pure painting of Jürgen Möbius flows through us as a timeless expression of memory and energy, ploughing our perception and bringing us the happiness of seeing authentic, immovable form. - Philippe Büttner Selection of solo exhibitions 1969 Galerie Würzner, Düsseldorf / Galerie Gurlitt, Mainz 1972 Städtische Galerie, Mainz 1973 Galerie Schloss Ringenberg Rathaus, Kleve 1974 Röderhausmuseum, Wuppertal 1976 Galerie Glasing, Osnabrück / Städtische Galerie, Herne 1977, 1997, 2004 Märkisches Museum, Witten 1979 Studio M, Bamberg / Staatstheater, Darmstadt 1980 Galerie Stolànovà, Wiesbaden / Mittelrheinmuseum, Koblenz 1982 Galerie Dornhöfer, Mainz 1984 Galerie Neumühle, Schlangenbad 1985 Landesmuseum, Mainz / Kunstverein, Ludwigshafen / Nassauischer Kunstverein, Wiesbaden 1986 Museum, Bochum / Galerie der Stadt Iserlohn 1987, 1990 Galerie Klaus Kiefer, Essen 1987, 2000 Galerie Ulrike Buschlinger, Wiesbaden 1988 Kunsthalle Darmstadt 1988, 1992, 1996, 1999 Galerie Leonhard, Basel 1992, 2002 Galerie Zulauf, Freisheim 1994 Galerie Remy, Vallendar 1995 Sendezentrum des Zweiten Deutschen Fernsehens, Mainz 2001 Collegium oecumenicum, Bamberg / MVB Forum für Kultur und Wirtschaft, Mainz 2006 Adam Gallery, London Selection of group exhibitions 1969 ‘International Graphic Arts’, Galerie Dalléas Bordeaux, Paris 1975 ‘Deutscher Künstler-Bund’, Dortmund 1979 ‘Man and man’s Images’, Märkisches Museum Witten 1980 ‘Love-Dokuments of our Time’, Art Hall Darmstadt and Art Association Hannover 1982 ‘Work - Progress – Position’, Nassau Art Association Wiesbaden 1983 ‘Principle Hope – Utopic Aspects in Art and Culture of the 20th Century’, Museum Bochum 1986 ‘Selfportraits’, Gallery Klaus Kiefer Essen 1987 ‘The Dying and Death’, Gallery Klaus Kiefer Essen 1989 ‘Where are You, Revolution – Freedom, Liberty, Egality, Fraternity to-day’, Museum Bochum 1990 ‘Flight – a Problem within the Memory of Man’, Kunsthalle Darmstadt ‘Art and War 1939 – 89’, House of Cultures Berlin 1991 ‘Material and Form’, Pillnitz Castle Dresden and Pfalz Gallery Kaiserslautern 1995 20 Years Exhibitions, Chrämerhuus Langenthal, Schweiz 1998 ‘Works on Paper’, Klaus Kiefer Gallery Essen 2000 ‘Acquisitions 1900 – 2000’, Mittelrhein-Museum Koblenz 2001 ‘Strange Pictures’, Klaus Kiefer Gallery Essen 2002 ‘10 Years Buschlinger Gallery’, Buschlinger Gallery Wiesbaden 2004 ‘Eternal Space – Pictures and Sculptures’, Dome of Bamberg 2005 Art Fair Chicago, Adam Gallery, London Selected Bibliography Mittelrheinisches Landesmuseum (Hrsg.): Jürgen Möbius - Neue Bilder, Mainz 1985. Kunstverein Darmstadt (Hrsg.): Jürgen Möbius. Bilder 1985 - 1988. Kunsthalle Darmstadt, 26. Juni - 14. August 1988. Red. Dorit Marhenke, Lyrik Marcus Schiltenwolf, Düsseldorf 1988. Gabriele Prusko (Hrsg.): Jürgen Möbius. Mit Texten von Philippe Büttner und Ralph Mieritz, Basel 1992. Wolfgang Zemter (Hrsg.): Jürgen Möbius - Aktuelle Arbeiten. Märkisches Museum der Stadt Witten, Bönen 1999. Wolfgang Zemter (Hrsg.): Jürgen Möbius. Flieger in meinem Zimmer und Beruhigte Zone, Bönen 2004. Dama Gallery...

I'm interested in light, colour and the balance of spontaneity and control. I take visual cues from nature but rarely work from it directly, get imagery from memory or my imagination...

Superbe original painting on canvas depicting a gorilla in a contemplative state on top of an iceberg while a young woman next to him plays the guitar. keywords; guitar playing woma...

In this painting I fuse abstract and realistic elements to capture the majestic presence and serene aura of a zebra in the wilds of South Africa. The vibrant, almost flowing backgrou...

The work "Woodworkers Gothic" is a new interpretation of the well-known painting "American Gothic" by Grant Wood. The two main figures in Wood's painting were replaced by a pair of ...

This stunning oil painting depicts a cowboy riding a vintage red wooden horse on wheels against a summer blue sky. keywords; painting on canvas, surrealist painting, americana, man,...

Always on the lookout for beauties from the animal and plant world, I came across the yellow poppy on the on a Mediterranean beach (Costa Blanca) in spring. I was doubly lucky, be...

A work from the series "Secrets of Memories". I create my paintings by applying many translucent layers, just as people are made up of different layers, among them layers of other pe...