Gallery – Semi – Abstract

Semi-abstract painting is a style in which the subject remains recognizable although

the forms stylized are in a manner derived from abstract art.

  • Still Life – Blue Vase and Flowers

    Flower arrangement, composed of 4, each of primary colours.  Oil on Canvas / 81 cm x 61 cm / 1964

  • Still-life with Coffee Pot

    Keeping within a loose interpretation of cubism, the following paintings give a cross-section of how choices in my topics would prove a different outcome; they vary, either in social, historical, or political themes; they show my interests, as what inspired me, and the interpretation I chose. “Still life w. Coffee Pot”, for instance, is a […]

  • Pompeii’s Destruction

    This rendering is a reflection on a long ago volcanic event in Pompeii. My interest in themes are becoming rather more Universal than Local. Oil on canvas / 70 cm x  81 cm / 1959

  • Window in Winter

    This is a Still-life with a landscape seen through a window in Winter. I used the same composition for “Window in Spring” and “Window in Autumn”. Oil on cardboard / 73 cm x 50 cm / 1957        

  • Blue Mountains

    Not in Ontario. In either my representational or semi-abstract Landscape paintings is the reoccurring rendering of mountains. It is something that I keep remembering from my upbringing in Austria. The shapes have always fascinated and inspired me. Oil on Canvas board / 76. cm  x  63 cm / 1959

  • Niagara Falls Frozen

    Niagara Falls in Winter appears frozen and without thunder; still showing its impressive size. One of many interpretations a painter can have. Modeling Paste / Oil on Masonite / 61 cm x 91 cm / 1964

  • Orpheus & Eurydice, #1

    Orpheus looking back at Eurydice who is about to disappear to the underworld.  Oil on Masonite / 94 cm x 71 cm / 1965

  • Arctic Heat-Wave

    Despite the controversy over “Global Warming” the change in the north was then visible and inspired me to make a painterly comment, as seen here. Oil on Canvas / 81 cm x 101 cm / 1996

  • Laundry in Spring

    In the series of “Laundry” paintings, this image shows the newness of Cloth, as well as a new season of the year. Oil on Masonite / 53 cm x 56 cm / 1966

  • Laundry Above

    From the series “Laundry”. Various sheets of cloth seen from below. Acrylic on Masonite / 80 cm x 90 cm / 1966

  • Flashlight on Laundry

    From the series “Laundry”. A view of a large attic, checking in the evening if the laundry was dry. Oil on Canvas / 78 cm  x 94 cm / 1966

  • City Laundry #1

    From the Series “Laundry”. In narrow European streets the laundry would hang outdoors to dry. Oil on Canvas / 96 cm x 81 cm / 1966

  • City Laundry #2

    From the series “Laundry”. Somewhere in the past in a neglected city, a refreshing sign of cleanliness. Oil on Canvas / 101 cm x 76 cm / 1966 / Sold

  • Overgrown Flowers

    Semi-abstract. Painterly with spatial areas of magnified object. Acrylic on Canvas / 76 cm x 83 cm / 1967 / Gifted  

  • Riches of the Earth #1

    My impressions of Kirkland Lake’s Mines of the past, with its internal structures we never see. Oil on Canvas / 51 cm x 66 cm / 1959

  • Riches of the Earth #2

    My impressions of Kirkland Lakes Mines of the past, with its structures we never see. Different mood as in Riches of the Earth # 1 Oil on Canvas / 66 cm x 81 cm / 1959

  • Park in Spring

    The Style-category of this painting is called Semi-abstract but being void of a human being it has a touch of Surrealism. Oil on Cardboard / 49 cm x 69 cm / 1957

  • Bathing at a Waterfall

    Deliver the painter from comments. It is what it is. Oil on Canvas / 76 cm x 56 cm / 1959

  • Red Mountains #1

    Uprising rocks, caused by continental plates colliding, transmitting hot lava. Oil on Canvas board / 76 cm x 56 cm / 1959

  • Nude Sitting

    Composition of a reclining woman. Oil on Canvas / 91 cm x 71 cm / 1966

  • Mild Evening

    A nocturne, meditative and serene. Oil on Wood Panel / 53 cm x 56 cm / 1964

  • Fragmentary Figure

    Study in copper tones. Oil on Canvas / 81 cm x 51 cm / 1963

  • Bouquet

    My wife, Jeanine, inspired me constantly to paint every so often a flower Still-life. Oil on Masonite / 61 cm x 46 cm / 1964

  • Blue Fruit – Still-life

    Neo-cubistic approach to Still-life. Oil on Wood Panel / 30.4 cm x 43.2 cm / 1964

  • Distant Promise

    Between the presence, facing as it were a landscape, and reflection in our mind, we search for hope on the horizon – far distant. Acrylic on Canvas / 76 cm x 61 cm / 2002

  • Composition #1

    Interference on a beach. Acrylic on Canvas board / 61 cm x 51 cm / 1995

  • Chemical Plant

    Modern science visually and magically expressed modern. Oil on Canvas / 45.7 x 60.9 cm / 1993

  • Canyon /97

    Canyon at sunset mood. Oil on Canvas / 91.4 x 66.0 cm / 1997

  • Aftermath

    The curtain rises after destruction. Acrylic, mixed media / 60.9 x 76.2 cm / 2003

  • See-Hear-Speak Evil

    Contrary to the saying those images emphasize the contrary in an ugly way. Oil on canvas / 76 cm x 87 cm / 2004

  • Pottery

    This is a tribute to a friend of mine who worked in the ceramic trade. Acrylic on Canvas / 60.9 x 76.2 cm / 2003

  • Pointillist’s Still-life

    My experiment in using the Pointillist’s technique. A still-life floral bouquet. Acrylic on Canvas / 40.6 x 50.8 cm / 1998

  • Village of the Past

    Architectural remnant of an old town. Acrylic on canvas / air brush / 88.9 x 101.6 cm / 1969 / Gifted.

  • City’s Pollution

    Although pollution usually appears grey, in my rendering one may associate the yellows with the toxic acids that circle a city.  Mod. Paste & Acrylic on canvas / 81.2 x 101.6 cm / 1968

  • Riches of the Earth # 3

    The layers of rocks and minerals, down to the earth’s core. Mixed media, Acrylic on canvas / 91.4 x 101.6 cm / 1970

  • Orange Mountains

    Small painting in a slight Renaissance style and a place as if it were in the Middle East. Oil on Canvas board / 40.6 x 30.4 cm / 1985 / Germany

  • Two Children

    When after having have lost each other, then meet again, it is a good reason to embrace. The original title was “Found Again.” Oil on canvas / 71.1 cm x 45.7 cm / 1961

  • Flower Still-life

    This is in colour a more subdued composition with minor emphasis on reality or the flowers themselves.   Oil on canvas / 50.8 x 40.6 cm / 1961

  • Tribute to Rembrandt

    In the original, Rembrandt painted his son, reading. In my version however, I was trying to capture the essence of what made this painter so different from other painters. My tribute to Rembrandt is not meant as a copy of the original with his skill in technique or observation but, although in an semi-abstract manner, to emphasize the mystery and depth he […]

  • Tower of Babylon

    A mythical expression of something that is unreachable, we use it symbolically for something that goes over our head and other things we treat at the top while the foundation decays. Oil on canvas / 91.4 x 66.0 cm / 1961  

  • The Egyptians

    Fascinated by the culture, workmanship, artistic concept and beliefs of the Egyptians, I was inspired to portray pyramids, sculptured sphinx and colours what characterises their grand scale thinking. Oil on canvas, 71.1 x 91.4 cm / 1960

  • Sculptor’s Dream

    In the preparation of a sculpture, the artist is dreaming of the basic structure of a sphinx of which the Egyptians were so well in command. The yellow sand and gold are a symbol of their heritage and the white is a window that has allowed us to experience their culture. Oil on canvas / […]

  • Out of Paradise

    Yes, so it is told in Genesis but frequently in life we are losing our current grace and stand before a new beginning. Oil on Canvas board / 66.0 x 55.8 cm / 1960  

  • Gothic Architecture

    In the thirteenth and fourteenth Century,the builders made it their task to reach the heavens, as well as it became a Christian spiritual journey in Europe. My emphasis in this painting is the harmony of various forms that rise vertically into the sky. Oil on Canvas / 66.0 x 40.6 cm / 1960

  • Friendly Avenue

    A bird’s eye view of a city street. Its buildings and joyous colours seem to open the avenue.   Creon drawing and watercolours on paper / 1961

  • City Scape

    A more painterly, less architectural constructed city in a friendly, golden light. Oil on canvas / 91.4 x 71.1 cm / 1961

  • The Village Beneath

    Although at first glance appearing like an abstract painting, the objects are viewed from way above. They then become familiar, as a hamlet with surrounding landscape. Acrylic on Masonite / 38.1 x 43.2 cm / 1999  

  • Summer Reflection

    A landscape with vague growth and objects filled with warm and misty light. Oil on canvas / 76.2 x 76.2 cm / 2003  

  • String Quartet / 99

    From the earlier version, Quartet, 1961, I return here with a more abstract composition. The surrounding is not anymore a warm chamber setting, rather an open air performance. Acrylic on canvas / 66.0 x 76.2 cm / 1999 / sold

  • Look Out

    An opening, seen between cliffs in a Canyon. Airbrush on paper / 1988

  • Light Fading

    The source of light in this landscape is uncertain. If anything, it seems to come from within. Oil on canvas / 71.1 x 82.2 cm / 1998  

  • Gravity in Fall Season

    A different take on autumn when all growth that reached toward the sky will return to earth. Oil on canvas / 76.2 x 91.4 cm / 1996

  • Village by the Sea

    Reflecting the sea in buildings on the shore. Modeling Paste & Oil on canvas / 50.8 x 60.0 cm / 1964

  • Atlantis, sunken City

    My fascination with this ancient myth of a highly civilized, technically advanced city that one unknown day submerged into the Ocean. Oil on canvas / 78.8 x 101.6 cm / 1960

  • Beast in Landscape

    Since the colour green reminds us of all its different shades in nature, painters have almost found it NOT employable in semi-abstract expressions. It seems to lack depth and has symbolically little to say. Unlike the primary colours. They have many meanings. For example, Blue can be mysterious, expresses the infinite, and symbolizes Heaven. Yellow […]

  • Group of Trees

    Sculptured trees seen reflected as in water. Oil on canvas / 55.8 x 76.2 cm / 1961  

  • Head in Landscape

    Since the colour green reminds us of all its different shades in nature, painters have almost found it NOT employable in semi-abstract expressions. It seems to lack depth and has symbolically little to say about relation to life. Unlike the primary colours. However, an old saying exclaims, hope is green and the romantic novelists hinted […]

  • Forest Impressions

    If it were not for the darkness, the shapes and filtered colours of a forest and its lucidity can remind one of a stained glass window. It is suggested that the tall trees of a forest grove can feel like a natural cathedral. Acrylic on canvas / 91.4 x 76.2 cm / 1968

  • Festival Salzburg

    Inspiration to this work is a result from listening to Mozart’s Bassoon Concerto with its gracious, majestic passages. By using warm colours that surface amidst meditative blues and violets and this semi-abstract rendering combines an architectural composition that has traces of Salzburg, Mozart’s hometown. Oil on canvas / 71.1 x 81.2 cm / 1960

  • Cliff Structure

    The choice of cliffs as subject lent itself using the Hard Edge technique to achieve a dimensional appearance. This is technically one of seven first Hard Edge paintings. Although this Hard Edge term existed already for ten years (of which I was barely aware), my work is totally without influence and does not resemble any […]

  • Archeological Findings

    A layout of ancient objects with a minimum of light as if they were still below ground. As to the method of Hard Edge paintings, refer to image Cliff Structure. Oil glazing on canvas / 96.5 x 83.8 cm / 1965

  • Lookout

    no comment – airbrush on paper – 1988

paintbrush 50

Painting Medium – Semi-Abstract: Surfaces for paintings were canvas, canvas board, heavy cardboard, Masonite and wood panels, sized with Gesso primer, the design executed with oil or acrylic paint, using brushes and palette knives to achieve different textures as well as Modeling paste, canvas patches and strings to give a dimensional outline of a form.

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