BEFORE THE ACADEMY |
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1 | A small picture I did when I was 7 years old |
DURING THE ACADEMY | |
2a-2e, 2g,2j,2k | The nude model Nina von Kikodze from Georgia |
2r | Prospect for the opera “LE CINESI” by Chr.W. von Gluck for the Gärtnerplatzteater in Munich |
2q | Scenes for “DER KAUKASISCHE KREIDEKREIS” by B. Brecht |
2s | Poster for the comedy “MONSIEUR DE POURCEAUGNAC” by J.B. Molière/J.B. Lully |
2l-2o | Abstract stage designs (collages) |
2p | A stage design |
2t-2w | Stage designs for the play “LE BALCON” by G. Genet |
AFTER THE ACADEMY | |
PORTRAITS | |
3-4w | After my studies at the academy, I dedicated my time exclusively to painting portraits. I was never interested in capturing just a snapshot of the person, but sought to paint him in his enterity, in a sort of psychogram. Personality is situated in the inside. This inside shapes the outside, the appearance of the person. In a portrait his appearance must reflect the inside of the person. |
3p | In this portrait you see two ladies from behind. They are looking in a mirror preparing themselves for a ball. Their husbands are also in the mirror, ready and waiting for them. I am behind the canvas in the picture, painting the group. The sculpted frame of the mirror passes into the painting. |
3,3u | My Mother |
4q | This portrait is made up of two canvases set at an right angle. On the left canvas one sees the lady from the back, on the right canvas one sees her from in front in the mirror. There is only one precise focus point where all the lines pass in a direct way from one canvas to the other. |
BOOKS | |
268-269i | THE RAINBOWGOBLINS The idea of the transformation of flowers into insects, butterflies and birds was something I had in mind, since I was a little boy (see nr. 1!). I illustrated my fairy-tale with 19 paintings (oil on wood). Thames&Hudson publishers; |
270-272v | THE RING OF THE NIBELUNG I rewrote Wagner’s Text with my own words. 30 paintings (oil on wood). Thames&Hudson publishers. |
273 | Disc-cover for the rock-group “Johnny Fuzzy Kruz and the Mind Explosions”. They used a part of the front page of my book “The Ring of the Nibelung” (see Nr 270). The norns, deeply symbolic creatures were transformed into three rockers! |
276-284f | THE LEGEND OF TE TUNA Text by Richard Adams. 10 paintings and 46 vignettes. Oil on wood, china ink on paper. Sidgwick&Jackson publishers. |
276 |
Publicity for the book “The Legend of Te Tuna” |
278-283c | Double vignettes for “The Legend of Te Tuna” (selection). The text is printed between the upper and the lower vignette. |
283d-284f | A selection of paintings for the book “The Legend of Te Tuna” |
dal 285 a al 294 b | THE WHITE GOBLIN The continuation of the Rainbow Goblins. 16 illustrations (acrylics on paper). Thames&Hudson publishers. |
295 | Cover for the Book “CUINTRISTORIE DAL FRIÛL” written by J. Marchet (china ink on paper). |
CINEMA | |
300 al 00300h | Some details of the “galaxies” for the film “FLASH GORDON” produced by Dino De Laurentiis |
301 al 00423 | THE NEVERENDING STORY Film based on M. Ende’s book |
301 | The painting for the poster of the Film “The Neverending Story” |
302 | The Poster |
303-423 | The Neverending Story Pre-production sketches for the fairy persons, masks, costumes, set-designs and details. All the final production works remained with the production company. |
OPERA | |
1020b-1020p | Sketches for the opera “DER GOGGOLORI”. Music W.Hiller/ text M.Ende. |
1021-1432 |
THE RING OF THE NIBELUNG Music and text R. Wagner. (Zürich Operahouse) Here is illustrated about half of the volume of work I did for the “Ring” at the Zürch Operahouse. It is absolutely necessary for the stage- designer to have something concrete to discuss with the art-director. That is why I drew so many different versions. The art director Claus Helmut Drese and myself decided to develop the version showing the cut globe. The surface of the earth showed from opera to opera the evolution of time, beginning from the glacial era to our days. The Twilight of the Gods, the last opera of the cycle, representing the present extended beyond the limits of the globe. Instead of nature, trash covered the earth. The Hall of the Gibichungen was filled almost to the chandelier hanging from the ceiling. In the last minute all the rubbish was “cancelled”, and so the stage-floor became automatically the floor of the Hall and reached almost to the chandelier. That was incomprehensible to the spectators and the sense of that stage design was swept away with the rubbish. |
1021e | Sketch for the stage-courtain |
1021f |
Program |
1021g | Booklet of the “Ring”-Production |
1021a-1021d | The 4 posters (received the “Schweizer Plakatpreis”) |
THE RHINE GOLD | |
1022-1022w | Scenes and sketches for details (several versions) |
1023-1123c | Double back-cloths |
1034-1130 | Scenes and sketches for details (several versions) |
1130-1130g | Photographs of scenes |
THE WALKYRIE |
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1131-1131p |
The rock of the Walkyries |
1131q-1131u |
The rock of Wotan and Fricka |
1131w-1131x |
Hunding’s hut and chair |
1132-1132d |
Double back-cloths |
1147-1229 |
Scenes and sketches for details (several versions) |
1229.1229n |
Photographs |
SIEGFRIED | |
1230-1231g |
Single and double back-cloths |
1232a-1238f |
Stage-design and detailed sketches |
1239-1327 |
Scene-sketches (several versions) |
1327a | Photograph |
THE TWILIGHT OF THE GODS |
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1328-1328a | Sketches for details |
1328d | Double back-cloth |
1337-1430 | Scenes-sketches (several versions) |
1431-1432 | Photographs |
VARIOUS WORKS |
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8002 | Poster for the musical “HAIR” for german-speaking countries. |
8003, 8004 | Posters for concerts |
8005 | My parents admire their grave-stone. I had to design it while they were still alive, because they wanted it see it from the “good” side! |
8006 | Poster of a retrospective of my works. |
8007 | Booklet of this exhibition |
8008-80012 | A mug for beer for the museum of the Paulaner Beer Brewery in Munich |
80013-8020 | Logos |
8023 | This painting was commissioned by the Deutsche Grammophon Gesellschaft (DGG). I conceived the idea of a painting that could be cut into 12 smaller pictures. They were used for 12 disc-covers of a music-series. |
8024-8030 | Some of those covers. On the back the whole painting was printed. |
8183-8208 | A series of variation on an own theme |
8183 | Here starts the journey |
8184 | Malefica-Venefica |
8185 | Sweet pollen for the butterfly |
8186 | Busy Industrial Zone |
8187 | Wine, Women and Song (Wein, Weib und Gesang) |
8188 | Yak the Ripper |
8189 | Cosmic Palm Tree |
8190 | Adam’s vision |
8191 | Red Sail in the Sunset |
8192 | Doesn’t Ondine live here any more? |
8193 | Chaos-Order |
8194 | Wallflower |
8195 | Traffic-signal |
8196 | Under- and overexposure |
8197 | Around the World in Eighty Days |
8198 | Keeping it clean |
8199 | Our holiday last summer |
8200 | Flora and fauns |
8201 | Frigid beauty |
8202 | An unexpected waterfall |
8203 | The Tree of Life |
8204 | Is it still raining? |
8205 | Vanitas |
8206 | My favorite tornado |
8207 | Close the courtain! |
8208 | The Theme |
8231 | A commission from the German Boxerclub. The Painting was to serve for a scarf. The Boxerdogs were all portraits painted from photographs. (Acrylics on wood) |
8357 | The Original Painting by G.A. Canaletto The Return of the Bucentaur (1730) A.Crespi Foundation, Milan The low-level copy of the « Return of the Bucentaur » by G.A. Canaletto Painted 1933 for a restaurant in Venice. I bought this painting because I had the idea to paint my own version above it My Version « The Last Return of the Bucentaur » (2013) |