Robert Haas – new realism in the 60ies & 70ies

Robert Haas (1898-1977) was born in Heilbronn and studied at the Academy of Arts in Munich beginning from 1918 (after being war painter from 1914-1918). In 1936 he became part of the Kieler Artist federation. 1955 he started to be an independent artist and lived in Chelles s/Marne near Paris from 1959 on.

He was a good friend of our family and that was the reason we were often together with him and his wife during his stays in Heilbronn, when he came back from Paris. Of course we were as well impressed by his pictures and work he presented or he gave to us.

His work is maintained at the Städtische Museen in Heilbronn and from time to time presented to the public. The last one was in 2012 ( where the time between 1960 and 1970 was put into focus, especially for the art of the realism or new realism paintings which came up to be “modern” again.

Typical for Robert Haas´s paintings were surrealistic scenes as well scenes from french towns like Paris and others.

I show here his last self-portrait he gave to my father shortly before his death (unpublished) and typical examples of town paintings (which sometimes remember to the Paris´painters like Utrillo, Vuillard, Bonnard, Dufy).

Haas Selbstportrait





Horst Jannsen – little ULM

What a nice little exhibition catalogue from 1974 signed by Horst Janssen. His typical signature comes along with a small little sketch highlighting the “Ulmer Dom”, as the exhibition was taking place at the Kunstverein in Ulm . This catalogue shows examples from his etchings between 1958-1961, which is meant “his ideal medium, his personal claim, his legitime ace” (Hans Kinkel) .



Mario Dalpra – India. A closer look into the world of his paintings

While the sculptures of Mario Dalpra are present at all his exhibitions, his paintings, are – in my opinion – still a secret to be explored: 2 Pictures out of his India-series:

Dalpra India 1       Dalpra India 2

I could not express it better what is so special in his drawings/painting than some of the people writing in his books,  I just wanted to mention some of the nice text written by the different authors:

“Mario Dalpra is a cosmopolitain – a traveller, yet whose approach to distant lands is way off-track from the usual visual and behavioral habits of travelling.” …  The rapid twisting round of this heads conveys complex emotionalism and state of being.. But after looking  at them for a while, Mario Dalpra´s drawings prove to be incredibly exact compositions of intensely concentrated quality.” (Sylvie Aigner in Mario Dalpra – Drawings-Paintings, W. Neugebauer Verlag GmbH, Graz)

“Like Basquiat, Dalpra´s work also has written characters supplementing the gesticulatory tracing of heads with feet”. “… Basquiat was the forefront in making figurativ doodling into a major criterion in modern painting. This is something that Dalpra, too, feels quite close to.” (Florian Steininger in Mario Dalpra – Drawings-Paintings, W. Neugebauer Verlag GmbH, Graz

“Among the exceptional creative features Mario Dalpra shares with other Austrians is the powerful, natural fusion of painting and drawing.” (Lucas Gehrmann, Energy-charged symbiosis, in Mario Dalpra – Drawings-Paintings,  W. Neugebauer Verlag GmbH, Graz)


Nevertheless my emotions are caught by his pictures, forms , colors and statement.

Miklós Németh, Painter of the Vulcano

Miklos Németh (1934-2012) – whose teacher was Ödön Marffy (one of the 8 “Hungarian “Wild”) – is amongst the most important hungarian painters  in our times. His specific style which resembles very much to different “western” painters like Picasso, Nolde, Kokoschka, Matisse But Németh never copied any of those great painters. He was painting based on his own and deepest emotions; his paintings were made like an eruption of a Vulcano, why he named himself as “painter both the volcano”. He never really planned to create a picture, he was just painting and when a picture was done, IT WAS DONE, he would never change it again, rather he would do another one.

I wanted to show some of his work to my community, because more and more collectors start to see the immense power of his pictures and the effect they have on themselves.  When I saw his pictures the first time, I was fascinated.

Attached you see a very early work, done in 1955 and some of his work created in the 1980ies or 1990ies.


Miklós Németh, Nachdenklicher Junge, 1955

“Thinking Boy”- Miklós Németh, 1955, Private Collection



“Women”, Miklós Németh, Mixed Media on Cardboard, appear. 1990; Private Collection


“Party”, Miklós Németh, Oil on Cardboard, Private Collection



“Talking Women”, Miklós Németh, crayon on paper, 1984, Private Collection


Dieter Roth / Heimo Zobernig – Artist books and samples of copy book titles

Dieter Roth who was born in 1930 and passed away in 1998, was- among lots of others –  very well known for his artist books (–> see Wikipedia). The Dieter Roth Foundation mentions on its website “Beginning in the 1950s, Dieter Roth took the artist’s book in new directions. Starting with op-art and visual poetry books, he then experimented with all aspects of offset printing and by the 1990s was producing “copy books,” using photocopiers…”

This topic of artist books is also touched by an interesting article written by Andrew M. Goldstein, 2013 called “MoMA Curator Sarah Suzuki on HOW Dieter Roth Invented the Artist´s Book” ( where it is mentioned “…that it’s hard to believe that the medium is less than 50 years old, and more or less indebted to a single artist: Dieter Roth.”

Looking at those “samples(?)” of descriptions of D. Roth´s copy books, I am basically starting to think about, what meaning/history/sense might be behind those words. So I am now looking for the contents of those copy books … the story might be continued.


Before I forget it …The technique of photocopying by the way is something other contemporary artists use as well (even I do not know if. Mr Zobernig was influenced by D. Roth) : A nice example at least would be Heimo Zobering´s book project “Galerie Stadtpark” from 1996 where Zobernig creates copies of the pages of the guest book which was filled by the spectators at the gallery opening. One page in each copied edition is always one original page of the original guestbook.

Zobernig_Stadtpark3 Zobernig_Stadtpark2





Richard Teschner – Wiener Werkstätte und Master of Puppet Play

2 years ago, I was invited by a friend to visit the “Theatermuseum” in Vienna and watch the “Weihnachtsspiel” from Richard Teschner. It was also the chance to visit the exhibition in the museum showing an overview of the works and life of Richard Teschner. I was fascinated about what I saw. Teschner- as member of the well known “Wiener Werkstätte” (1909-1912) was an artist of the “Vienna Jugendstil” and a good friend of Gustav Klimt. He created paintings, drawings  and of course the fascinating plays with the puppets which he brought over from the javanese puppet play to Europe with its specific style of a pantomimic puppet play.

If you are interested, just have a look on the website of the Theatermuseum in Vienna or visit one of the plays, which are hopefully shown again during Christmas time. It would be worth your time.

Attached I show here examples from a sketchbook from R.Teschner from 1924


FullSizeRender 3



Picasso´s signatures – a little study of Picasso´s P´s

Dear community,

this time I wanted to show you a very small study of different signatures of Picasso during the different years.  This study will be continued, as well I will add fake signatures later on as I think there are lots of them out there.

For now, the focus of this little study is the “P” in Picasso´s signatures and dedications like “Pour” as there can be seen differences. If I have both examples shown (“Pour” and “Picasso”, then they belong to the same document)

Example 1: very early signature from 1904 (reference: image in “Portrait of Picasso” by Roland Penrose, The Museum of Modern Art, New York 1957, pp.29).


I follow up with two examples from 1931/1932 dedicated to Chester Dale in 2 different documents (Reference: National Gallery of Art, Washington D.C., USA)

Example 2: The “P” in Pour is like a big letter and a big loop (which almost turns into a heart) ; the “P” in in “Picasso” has a small upstroke which is usual for signatures at that time and as well earlier. Very small loop on the tip of the “P”

Pour9 Au8

Example 3: The “P” in Pour is like a small letter with a small upstroke, in Picasso´s signature already more artistic with a clear loop. No upstroke at the “P”.

Pour1 Au9

Example 4: Signature from 1940 (reference: letter to Christian Zervos, in Katalog Stargardt, Moirandat, Autographen Auktion, Basel 2011, pp.288 ). Still very artistic signature, the stroke and his classic “P” are somehow melting together.


Example 5: Signature from 1948 (1st reference: own collection. signed in Desire a play, 27.12.1948, dedicated to Bernard Frechtman). Capital “P” with a loop in Pour, simple P for his signature. (2n. reference: private collection: signed in “Desire – A play by P. Picasso, 27.12.1948): Both “P” with small upstrokes and small loops.

Pour8 Au1

Au11_desire Au11_desire


Example 6:

Signature from 1950. Photo signed and dedicated: Typical large “P” with loop in Pour are written all with big letters, small “p” in signature of “Picasso”, angle of the stroke is at 45 degrees (–>>different as when Picasso signs with a big P)

Pour10 Au4


Example 7: Signature from 1952: Photo signed and dedicated. “P” in Pour and in Picasso are written in small letters. Angle of the stroke for Picasso is at 45 degrees, small loop.

Pour5 Au2


A short summary with some further examples for writing “Pour “, in small and big letters:

Pour3 Pour5Pour2Pour1




Pour7 Pour6 Pour9

Pour10 Pour8 Au11_desire


T.B.C. …

Hope you enjoyed this small study and – if you have any comments – please feel free to contact me.


Primo Conti | Italian Futurism & Novecento

Some years ago, I found a little book called ” Vecchia Biciclette Nuova” and an exhibition catalogue signed by an artist, called Primo Conti.

Conti4 Conti3 Conti2


At least for me, he was not very prominent in my mind, but the fact, that he belonged to the Futurist movement was catching my interest, so I tried to know more about him:

In Wikipedia, you can read, that he met already the Futurists in 1913:

“His attraction to the latest innovations was expressed in almost completely Futurist forms in his drawings, while he developed a unique style in his painting that was a mixture of Art Nouveau, Fauvism, Expressionism and Orphism. It was not until 1917, after meeting with Giacomo Balla in Rome, and with Filippo Tommaso Marinetti in Naples (who later enthusiastically praised Conti’s book Imbottigliature which was about to be printed) that Conti became part of the Futurist movement. His contribution to the movement was not only his literary works, but also the paintings and drawings he produced between 1917 and 1919—the years in which his work was taking on the metaphysical style.

The 1920s were a complex period for Conti. He explored Mannerism, Exoticism, Pittura Metafisica, and great historical and religious painting, covering a vast area that can be compared with his keen interest in the theatrical and literary world of Luigi Pirandello, Massimo Bontempelli and Enrico Pea, which led him to found the Viareggio Prize in 1929.

The 1930s brought a series of alternating events that created problems in his private life and led to his celebrative paintings. The decade also saw his enforced adhesion to Fascism (joining the Partito Nazionale Fascista), and his inner rebellion against it which transpired from his refusal to join Margherita Sarfatti’s Novecento Italiano group and from other episodes when he stepped out of line. New prospects were only opened up to him when he became involved in designing stage sets for the opera house with the foundation of the Maggio Musicale Fiorentino.

By the 1940s, long before the official rediscovery (20 years later) of the Futurist movement, Conti was again working on Futurist subjects and experiments. From 1948 to 1963 he followed the rules of the Order of the Franciscans, though he still continued to paint.

Many of his works are housed in the Museo Primo Conti (Primo Conti Foundation Museum [1]) in the Villa le Coste at Fiesole (near Florence).”



Art meets Politics: Joseph Beuys & Johannes Rau

Imagine the following situation:

  • you are in the 80-ies in
  • you are living in Germany
  • Terrorism (Baader – Meinhof Group) in Germany reached its peak.
  • Cold war was still present.
  • With Tschernobyl, young and the elder generations faced new (nuclear) threats, we never experienced before in Europe.

The known artist Joseph Beuys even made a song “Sonne statt Reagan” which is a nice word game in german language. In german language its meaning sounds like “we want sun instead of rain”, but in reality it was a critic to the politics of Ronald Reagan  ” we want sun instead of Reagan” . The shout for a better life in our country.

As a small boy at that time, I wanted to have answers to this actual situation I am living in and I reached out to politicians and asked them, what they think about peace and asked them for some comments.

One answer I got, was from Johannes Rau (the later president of Germany) who made interesting statements to the situation in 1986. From today´s point of view interesting and maybe valuable for future generations as they are still generally correct

– today we have more mass destruction weapons than in any other country of the world; these weapons have to be minimized, as they are a danger and threatening our lives

– we need less nuclear and chemical weapons

– we need a stabilization of power at most possible low level in East & West..

– we need to support the exchange of cultures ..

“Art meets politics” Here I put together the LP of Joseph Beuys and my letter from Johannes Rau. In my opinion 2 interesting documents with different approaches to a certain situation.

If you want to listen to the song, here is a link to youtube:








Franz West – mirroring autograph

Franz West is known for his special way of integrating the art spectator into his works.

What to do with his autograph in this article?

1. take a mirror

2. Show the book into the mirror

3. Read the autograph

4. What do you think about the “N”




copyright: Franz West: signed in “Franz West 10.april-13 juni 1999”, exhibition catalogue no.32, Rooseum Center for Contemporary Art, 1999