'Look, I've brought you something from the Turkish greengrocer in the Mecklenburg Street! A real heavyweight.' My wife came from shopping to the studio. 'Is this something for a still life?'
Well, I would have to cut it up, stage it and replace the many still lifes with melons from the history of painting. The picture should play in the today.
So, I set up a small stage in the studio, waited for the evening light and sliced the slightly elongated watermelon.
Somehow that looked brutal.
The slicing of a watermelon awakens strange associations. The pulp gives something organic. Setting a melon as a metaphor for a brutal injury tempted me.
Please nothing sweetish. Although I really appreciate the thirst-quenching sweetness of these melons. The hidden vitamin A is good for the eyes. I like that as a painter.
It should also provide beautiful skin. I'm afraid this melon will be late for me.
May your antioxidant protect me from cancer, so that I can continue painting for a few more decades.
Domenica Niehoff, Germany's most prominent prostitute, had died at the age of 63 years. On 12th February 2009, this was a news item in the Tagesschau program.
A few days later I saw a ‣ funeral procession from my studio window in Hamburg. The cortege turned to her memory in the Herbertstrasse, in which she was once commercially active.
Photographer Guenter Zint, of whom there are impressive Domenica photographs, carried a painted portrait of her. Many celebrities lined up. In the procession, I noticed a gentleman dressed in white. I had never seen him before. On the following day, a photo of him appeared in the newspaper Hamburger Abendblatt on the subject of a funeral procession. 'You like him, or!' smirked my wife.
It took years until I saw him again.
Summer 2014. Unmistakable, there he sits, the dandy in white. What a bird of paradise. Like us, he had a late breakfast at lunchtime in front of the Café Liebling in St. Pauli. I did not dare to speak to him, but I watched him for a long time. In the evening I discovered a film about him on the media library of the North German Broadcasting NDR. Then I found his phone number on the net, called him, and we arranged to have dinner at the Cuneo of Franca, whom I had just portrayed. It was an interesting evening. I told him that painting is a great excuse to meet interesting or strange people. 'Not correct!' he replied. 'It's a reason!' I liked that.
The following day, when I wanted to do my photo sketches, it was raining in Hamburg. So, we went with our photo equipment to Heidi, our favorite hairdresser at the old cattle slaughterhouse, and built there in the salon the headlights. Heidi thought that was amusing and Goetz had a lot of patience with me.
Sometimes, as a painter, you brood over a portrait for a long time. In this case, it took more than ten years from the idea to the completion. Should anyone ask themselves what makes Goetz professional - Goetz Barner is jewelry designer in St. Pauli.
In the last days of completion, I heard music from the ‣ phonograph in the studio. Among others, I have listened to the following song.
Since two years we own a garden. At the beginning it was a real threat. A sort of monster around the house. Today, it is a real pleasure. Never I would have thinking that this high-maintenance piece of earth would influence my painting.
Dandelions are somewhat fascinating. Blossom and decay are standing directly side by side. Full of hope, its fading refers to the next spring. In my childhood the floating seeds, which cover amazing long distances, invited me to dream.
But dandelions are also obstinate – they do not fear asphalt or concrete. In my childhood I often drew them.
Also bees love this strange plant. And what all it is able to do: The stem juice can remove warts and also ease the pain after insect bites. The tea of its roots is delicious.
For the ones it is weed which has to be removed. Chemical substances or digging out deep roots. But there are others who are thinking of the ‣ Great Piece of Turf of Albrecht Duerer. And I am thinking of a tasty salad. In its leaves vitamin C and provitamin A are hiding.
Last but not least: On its stem it is possible to play music. Well, it is more a kind of trumpet noise.
Believing I was missing something, my wife and I moved from Wismar to Hamburg in 2009 for six years. Now we lived on St. Pauli, 37 meters from the Herbertstrasse. In the middle of the epicenter of German prostitution, in a loft apartment above the Hotel Hanseport corner Erichstrasse.
Despite the exorbitant bustle, it lives there like in a village. The St. Paulian has plenty of time during the day. The shops start at most in the evening and end after an eccentric night in the tiring morning. Stag parties dilute the party hype. Social cohesion is still high amongst the locals. Mentally you are compatible. Anyone who lives or works here is one of them, is part of a fast-wrecking machine. The number of the fallen is increasing. Rarely have I had the opportunity to look so deeply into our human abysses. There is easy access to residents and guests. Does such a rich, colorful painter life feel like that? Occasionally I have this feeling. That's how it was when I portrayed the 87-year-old innkeeper ‣ Erna Thomsen in Hamburg.
My wife is a port planning professional, she is a hydraulic engineer. That suits the place. We like to work and often ww work late into the night. Did you eat something? No. It is already 24 o'clock! Let's go to the Cuneo, I also like red wine. We go two streets to Franca.
Francas Cuneo is around the corner. In 1905 her grandfather Francesco Antonio Cuneo started to establish the first restaurant with Italian cuisine in Germany. At this time there were signs at houses in Hamburg saying 'Dogs and Italians stay outside!' In the early years, the restaurant was a distillation and wine shop, experiencing difficult and great times. It always remained in family ownership.
Franca leads it today in its fourth generation. The lively atmosphere in the Ristorante never arouses the dying curiosity in our eyes.
Often we sit here late after work, at night after going to the theater, meeting friends. We are happy to visit Franca. It gives us the enchanting feeling of belonging to a big family. She looks her guests in the eye and does not lose the sense of a director. One that intuitively pulls the right strings to tempt your theater stage with love. She maintains the spirit of yesteryear without bending. At the beginning she hears Paolo Contes 'Genova per noi'. The lyrics often bring tears to my eyes and I think he wrote this piece just for her. Of course he did not, but it fits 1: 1 to her and to this place. ‣ Here you can read the lyric in the Italian original.
I was immediately enthusiastic about Franca. I love strong women. And so, with tasty pasta with spinach and red wine, the desire to portray it was born.
A timid question on my part. Franca agreed. This resulted in an intense portrait, a sensually quiet.
Thank you Franca!
In 2013, I moved from Hamburg to Bremen. At that time, the fairy tale of the Bremen Town Musicians came into my mind. Their life-affirming slogan 'Something better than death you'll find everywhere!' is great.
But donkey, dog, cat and rooster never reached Bremen. The agedly A-capella-band annexed a house of robbers in the middle of the woods outside the gates of the city. Since then, they are living rent-free in the wealthy suburbs, are successful musicians at Bremen stages, use Bremen in their band name and pay no taxes in the city-state. Nevertheless, the Hanseatic Bremen likes to adorn itself with the four tax refugees of the squatter scene.
The formerly disputed bronze sculpture of the Bremen Town Musicians, made by Gerhard Marcks in the year 1953, proudly stands beside the Bremen city hall in landmark-rivalry to the Roland of Bremen. Every Asian visitor has touched her excitedly at least once.
Bremen is the smallest federal state of Germany and, already since years, Bremen is highly indebted. On this issue, I wanted to paint something. But how? Empty coffers in front of the city hall would have been trivial. I have a totally disturbed relationship to money, thus no money in the picture! And never regional or day-to-day politics.
In German, there exists the idiom 'to lose feathers', describing the situation of suffering a loss, being damaged, suffering disadvantages. Having this symbol in mind, I was looking for something related to the topic 'indebtedness of Bremen'. By chance, I stumbled upon a drawing of the great British animal painter George Stubbs. A very strange drawing, 40.6 x 56.5 cm in dimension, created in the late baroque. As if Stubbs had drawn it especially for my subject.
Suddenly, there he was, the rooster of the Bremen Town Musicians, who lost symbolically his feathers due to the huge debt burden of the town. He hurries, almost floating, on a stony path. His attitude does not give any hint on his internal condition. He did not become fat because of frustration, but remains sporty and athletic. Proud and indebted. A naked Hanseatic citizen without plumage.
I am grateful to my colleague George Stubbs, who created the preliminary drawing to my panel already around 1800. Respect. Without this, my story of indebtedness would never exist. ‣ The genesis of the painting
In December 2014, we have been in Venice and stayed on the Giudecca, the former worker's island opposite Piazza San Marco. Here, it is possible to find remains of a Venetian normal course of life. And from time to time the municipal gallery Tre Oci presents great photographic exhibitions.
There, we found the photobook 'NeoRealismo - la nuova immagine in Italia 1932-1960'. It was a time of great black and white photography. On the cover of the volume there was a photograph by Tranquillo Casiraghi - Gente della Torretta. ‣ To the photography.
Never before I saw this photo. It took my breath. Strange, I still do not understand it. This photograph deeply touched me and said to me: 'You will paint Katharina and Ulrich in a similar composition.' We bought two books, one for Katharina. She is photographer, lives only some steps away from the Tre Oci at the same Fondamente. I love her photographic oeuvre.
My idea for the picture was accepted. In such moments, I am really happy. Also Barbara, my muse and wife agreed. Probable, I will work on the panel for nine months. Until the birth of the painting I will offer everything it is asking for. Lust, love, self-doubts, passion, agility, forlornness, hope, and confidence.
Katharina's husband is a busy actor, musician and writer. It was difficult to find a date for a sitting. Six months later we arranged a meeting in a hotel in Hamburg. But there was a problem: the chosen outfit was not there. At the stopover in Brussels the airport was set out of operation by a bomb alarm and the suitcases have been still in Belgium. So, we decided to fix a new date, a relaxed meeting on the Giudecca in the next spring. In the meantime, Katharina found an appropriate wall as a setting. I just love it when the portrayed persons cooperate. Then, the painting becomes a joint production.
Fortunately, after years of grief for the death of their dog Toto, they just got a little puppy. Under the piano stool the eight weeks old Eurasier she dog Peppina was lying. She had the same hair colour like me. It was obvious: She is a part of the painting. I will paint a family portrait with three independent personalities!
On the Sunday afternoon, we took a coffee house chair named 'Kafka' and strolled through the Giudecca to the chosen crumbled wall. Sunny light spots flickered through a tree. Remains of a deep red wall paint gave the impression of dripped blood. Residents admired the little Peppina with the look of grandmothers seeing their grandchild for the first time.
After a few hours, I had got the photographic sketches I dreamt of for my live-size family portrait. What a pleasure. In the evening, we went for dinner having interesting talks full of easiness and heavy red wine. ‣ To the genesis of the painting
Once, I was almost four years old, I found, while playing in the woods, a weathered light-coloured skull covered by autumn leaves. In the evening, I proudly carried my freshly cleaned treasure home showing it to my father, who said: This was an old sow, a wild sow. What?, I yelled out. Yes, he noted, in the past it was a living wild sow.
As we lived at the edge of a forest, I had seen quite often wild sows from afar. My grandfather had told me that wild boars have large sideward teeth intended to impale children. So, I really was frightened of them. They always seemed to me angry, also malcontent, they always nuzzle in the earth for something eatable and are able to run pretty fast. Even decades later, they chased me through the dark forest in a nightmare.
But this shall be the rest of a wild sow? I felt great sadness. More should not remain when animals die? Oh, there are some more bones, my father said. You didn't found them all. My hushed question was: And we, we humans, what will remain from us? Erm, who really knows that?, was his answer. It was time for supper and I felt silent for the rest of the day.
This was my first encounter with death. Many others should follow. But I never forgot this first intensive feeling and wanted to tell this experience in a painting someday. So, long time I was looking for a wondering boy in the age of four. I did not wanted to paint myself.
Some years ago, my wife brought back home a skull from a wild sow from a walk with mother's-in-law dog. As no anthill was nearby, I boiled off the skull. It stank badly.
The boy in my painting I met years later. He is a son of my wife's colleague. When he was sitting for the painting in my studio with the skull in his hands, I was telling him my story and that the skull was in the shelf in my nursery for years. Somehow, his hair stood on end and I saw a mixture of astonishment and horror.
When Bosse saw the emergence of the painting, he said: You are painting me, but I didn't sat, never I sat in that forest with such a big tree. I was sitting in your studio!
The confrontation with coming and going, love, loss, grief, suffering and death will eventually affect every human being. Wanted or unwanted. It is part of our being and certainly carries our inevitable earthly transience as a cause in itself. That believers spiritually accept this topic is understandable. Since humans exist, they have creatively implemented these processes, values and contents. Otto Dix says 'The old topics are the best'.
The more restless my environment is, the more hectic society shapes and transforms, the democracy gets into its crisis, the greater my longing for peace and devotion becomes. Last year I saw in Porto the picture ‣ Mártir Cristão by Joaquim Vitorino Ribeiro from 1879.
We, the visitors of the museum, stood quietly and devoutly in front of the picture board. She touched. Incredible devotion. Silence. My inner voice told me later: This is the idea for a Pietà. At some point I paint my own devotional picture. I have often felt the same at the sight of the works of Giovanni Bellini in Venice.
Months later, at a model session on the subject of Lucretia, when my model, which was close to content because of the powerlessness, lay down on the sofa and lowered the drunk water glass, the idea was born. The glass is empty and will soon fall to the ground. And there were the aspiring lines like Ribeiro. The hair flowed like lived life. The tattoo crept into the entity as a death and removed the figure in a strangely hovering way from the now.
The next months were about Pietà. Why should not I transform the medieval theme with a man of today? Often I thought, perhaps it is the left behind Maria herself. I liked the idea and, despite the coldness of the picture, I lent something to the content of the picture. Sofa, boots and costume are a strange mix of different times and content. Welcome reasons for irritation.
Reactions to the blackboard were previously only in the studio.
Striking is the silence that triggers the life-size picture. Even with people who are not from our culture.
Opinions and statements on the board: Is she still alive? · I see the beauty of being, passing pain and salvation. · How did she die? At the loss? · Did she poison herself? · Is her soul still here? · There's an erotic component too. Strange mixture. · Devoted devotion to the world. · Very gently floating. · What a rest. · Maybe stayed at the party?
There were also outraged newsletter cancellations from the United States.‣ To the video about the genesis of a portrait
Like all grandfathers, mine once predicted serenity for old age. Is that also true for politics? Yes, he reassured me as a teenager. Walter Ulbricht's politics, for example, made him white-hot in my childhood. Only a few years later he smiled: You can not take this old goat seriously.
Despite emerging serenity, I am indifferent to political tendencies. Should I as a painter reflect on political developments? The answer in me is again and again: Please no daily policy. Look for metaphors!
Twenty years ago, in the Venetian Accademia, I first saw the 'Madonna degli Alberetti' by Giovanni Bellini.the Madonna and Jesus Child painted 1487. Great theater in front of a simple curtain. A captivating staging, a simple yet ingenious image idea. For my still lifes, I occasionally borrow them.
Having returned from a holiday in Venice for several weeks, I saw potatoes germinate in a clay pot of our kitchen. They were quite long germs. The potatoes had sacrificed their last energy in the hope of the future. Unfortunately, they will shortly pass without grounding. They lack the grip. But first they show themselves in yellow, green and purple beauty. A desperate grasp of light towards death. It offered me an equally compelling staging as that of the Madonna and Child.
In politics, there is less and less content. Post and power are the goal, often interspersed with dangerous emptiness. A helpless scramble on a cold stage towards the camera. Ministers are often too young and inexperienced. They lack history, diplomatic experience and serenity. And they have too much gloss and a studied permanent smile. They lack as well as my kartoffs the grip. And so they pass quickly.
There was the metaphor. A shapeless red brick on green marble becomes the stage for the last journey. Soon come woodlice and spiders. Death and the devil are already working in the background. The beauty is deceptive. It is a short sad rearing, before the curtain falls and the grasshopper moves on. Probably for those who have experience and history, who are given the grip for the future. I wish these people and potatoes a long, fulfilling life full of colorful blossom and beauty. ‣ The genesis of the painting
Later, when I was 25, I was drafted against my will for military service. I ended up at the transport police. When Helmut Schmidt took the train across the inner German border to Güstrow to Erich Honecker in 1981, I, like countless others, lay as sergeant to secure him on the railway line near Bad Kleinen. I never thought I would paint the smoking guy up there by the window of the dining car.
My Hamburg painter friend Karmers invited me to his exhibition opening in 2005 to the publishing house of the ZEIT. There, in a narrow corridor, I met Helmut Schmidt and thought: 'Strange, what a charismatic person'.
Over the years, I read his books. While I was painting, I heard his Mozart and Bach interpretations. Piano concerts with the London Philharmonic Orchestra and the Hamburg Philharmonic. He played this to his Chancellor times.
2012, coincidence it wanted that the ZEIT editor Urs Willmann with his Swiss charm gave me an appointment with Helmut Schmidt. I was warned. One had to be able to cope with his long pauses, not only to endure his silence, but to use them immediately for new ideas. Toady and crawler he did not like. He loved the contradiction in conversation, was wide awake and curious even in old age. I very much like to remember this musical person. He was also a great joker full of humor.
Before he sat me model, he had cleared his old-fashioned cigar box, which contained several boxes of cigarettes, from his desk. Schmidt with a cigarette was not my topic either. I wanted my pilot in his cockpit called Knowledge.
More than a year after creating the picture sketches, I presented him the finished panel in his ZEIT office. His words were: 'Paint, paint Mr. Juergens!'.
In 2004, I first saw Ruth Rupp on the stage of the St. Pauli Theater in the Threepenny Opera with Ulrich Tukur as Mackie Messer. She sang, after an idea of Katharina John, in the role of an old whore the final scene and reaped thus alone standing on the stage the dangerous final applause of the play. Half of the audience howled with emotion. Me too. And I swear, if this little lady comes across my way one day, I'll address her.
Six years later, at the Hamburg St. Pauli Theater, I heard a laughing adult woman's voice call as I walked: Damn, now one of these types of red wine tilts into my cleavage just because I'm so small. My glass stopped just a few millimeters in front of her. I looked at a 144 cm tall woman. We sat chatting in the empty theater for a long time. Others were celebrating the opening of the new season at the bar and we made an appointment. Ruth's words: If you've been after me for six years, then we have to do that with this portrait.
After a week she sat with me for the first time in the Blankenese studio. Ruth is now 85 years old. After nursing her sick mother for eight years, she discovered the spectacle at the age of seventy-seven. First the stage and occasionally film.
Before the war, she studied music and singing. During World War II she was a girl in Hamburg on the flak. Inconceivably. Later, she was a nanny for Map Falk in Blankenese. His daughter Karin found her, after 49 years, through my painted portrait of Google again. That's Ruth, my nanny of yore. A telephone call: Can it be? Yes! Now they visit from time to time and are friends for the second time.
So painting is not quite so pointless.
The crowd is big in front of the pub Zum Silbersack on St. Pauli. Around the corner are the first whores, a few meters further on is the Reeperbahn, nocturnal nocturnal revelers, drunken teenagers and shy-looking tourists. But in the silver sack people are not crowding tonight because of the girls, the music or the beer, but because Manfred W. Jürgens has invited to the first Hamburg one-picture exhibition.
At the far corner of the corner, the painter with red curls is sitting, has been signing autographs for hours and shining all over his face. 'Incredible', he calls through the babble of voices, 'I've never seen anything like that in any gallery, a new audience every two hours.' In addition to Jürgens, the boss hanging on the wall, the landlady Erna Thomsen, large-format in oil and the real Erna confusingly similar. Because Jürgens paints so meticulously and lifelike as Alband Dürer or Hans Holbein. "Objective Realism" is the name of this style. He seems somewhat anachronistic in the hectic 21st century art scene. But Jürgens is the cutie. 'Recently somebody said that I'm trend-resistant', he laughingly and repeatedly says in a genius way: 'trend-resistant - that's right.'
Because Jürgens paints not only as detailed as the old masters, he also takes as much time. With infinite patience, he applies layer after layer of (even mixed) colors. For up to twelve hours a day, he sits in front of the canvas with a paintbrush and a paintbrush. Months pass before a picture is finished. To paint that way is actually "a joke to life," says Jürgens with cheerful self-irony. But his wife Barbara, a civil engineer, financially supports him. And so the painter may only listen to his own voice. 'I hope never to get into a situation to change my style because of the market.' Jürgens also falls out of the zeitgeist with his concept of the one-picture exhibition. His painting of cow Soraia he presented on an alp in Switzerland. For the unveiling at 1900 meters, art lovers from all over the world came, alpine farmers and the model itself. When Jürgens confronted the cow with her life-size portrait, this trotted to the canvas and gave her own image a hearty kiss. Anyone who attended this touching event is still talking about it today.
How different is art in contrast to a gallery. Recently he was in the Louvre in Paris, says Jürgens and makes a face. You're in the world's most famous collection of paintings and people do not even bother with it, they rush through, get photographed next to the Mona Lisa and do not even look at them ". That was downright depressing. He does not want to have anything to do with this kind of hectic art enjoyment.
In Jürgens' actions, however, no one is overloaded with impressions. 'I have never seen so many relaxed faces as tonight before a painting,' says Jürgens, pointing to the happy crowd in the silver sack. 'People take their time to look, they talk to each other, nobody is in stress, because he thinks he has to see all the other pictures as well.' The fact that the 86-year-old landlady Erna Thomsen is personally present and that one can talk about art and pub business with the beer with the original Hamburg, naturally enhances the charm of the evening. Because Jürgens has an eye for the inconspicuous heroes of everyday life, and he always paints only people who personally mean something to him. He does not let 'nasties and self-overestimators' on his canvas, he says, for the rest he takes a lot of time.
530/5000 So it's never just about art at its exhibitions, but always about encounters. And because Jürgens has already painted all sorts of characters - goths, prostitutes, actors, journalists - and they like to follow his invitations again and again, you hardly meet anywhere a more colorful audience. In any case, the evening in the silver bag will be a long one, leaving many guests with more memories than many a visit to the Kunsthalle. It is quite possible that the trend-resistant painter sets a new trend with it.
In advertising, the cow is usually purple, on our current title beige and brown like tenderly melting milk chocolate, also has a nice curl on the forehead. The cow is called Soraia and was portrayed by the painter and photographer Manfred W. Juergens on the Alp Wispile in Switzerland. How it came about, you will learn in the following story, written down by the artist himself.
At an exhibition opening of my Hamburg painter friend Karmers, I got to know the Swiss editor of the weekly paper DIE ZEIT Urs Willmann. Of course, we talked about cows and delicious Swiss high mountain cheese. And since we were both custodians in our past lives, one in the mountains and the other by the sea, we had something in common. So, we came to his surf tip: www.kuhleasing.ch. So far, I have spent my holidays on coasts, rivers and in the cultural metropolises of this world. An interest in mountains did not exist in me. But then, according to Willmann's tip in the net, I saw the leasing cow with the name of the princess. Only one letter was misspelled. Other countries other letters.
Self-confidently, the alpha animal from the website looked past me and my wife. Stately she was and also old. Very old. And my thought was, 'Just take care of yourself. Please do not let slaughter you. I will paint you!' For years my wife wished holidays in the mountains. Now she had me. I wanted to paint this proud cow. So, we drove to Switzerland to Gstaad.
That's where Roger Moore and Liz Taylor go on holiday, and Michael Jackson used to be there too. But my princess lived on top of Alp Wispile, a half-hour cable car away. Then the almost one-hour walk on the ridge through fog and haze. It rained. A lonely hut at the height of 1,835 meters emerged in the fog. Here should my vacation take place? My mood was between the cow dung on the ground.
That changed abruptly when we entered the alpine hut drenched and welcomed by the peasant family. Sometimes reality surpasses any idea. We fell through time and arrived in the year of construction of the hut – 1737. The 400 liter copper kettle on the fire is the vital heart and center of the hut and proudly bears the coinage 1881. He would like the Gaul Miraculix.
Nescafé, sliced cheese and first language tests. Between the North German Platt and the dialect of the Bernese Oberland are some worlds. After three days we understood the first word in the conversation of the family: Fffly
The sun was blowing the dull gray fog the first evening, and we suddenly stood above the clouds on one of the most beautiful roofs in the world. The next morning, we were asked, 'Excuse me, you want to stay a week? With pleasure, red wine is here, but on average the people spend the night in the straw, and then it goes on. They get bored quickly. Here, people only have themselves, nature and animals - that is too little for modern man.' Electricity is supplied for a few hours daily by the diesel generator for the milking machine and for charging the mobile phones. In the evening, there is only the kerosene lamp, the card game, the conversation and sleep.
Hefti Hans was born 43 years ago on the alp. She, dairymaid Ruth, comes from the neighboring alp and never wanted to marry a farmer. Especially not one from the neighborhood. But they just met, work a lot, are happy and still in love. Colleague Margit helps the two of them on the alp, as well as twenty-year-old nephew Michael and, during school holidays, fourteen-year-old son Lorenz and nine-year-old son Oliver. The seventeen-year-old daughter Linda does an apprenticeship as a saleswoman in the valley and only gets on the mountain on her days off. Have I ever seen such happy faces?
The valley operation, the brothers Hans and Robert have taken over from the father. While Hans and Ruth run the dairy on Prealp and Alp in the summer months, their brother's family stays in the valley and takes care of the hay harvest. The families cannot live entirely on agriculture alone. Incidentally, the brothers still have to get involved in forestry and construction, but the fact that they can earn the lion's share to support both families with nineteen dairy cows and ten cattle is unthinkable by German standards.
After a week of cow bells, Swiss-German and panoramic views Hans brought us yet again from our blissful calm: 'You really cannot take the cheese with you, that's impossible, it has to mature, at least a year.' And so it became clear to us that such a cow-leasing is not possible with just one alpine summer. From 800 digital cow photos and numerous drawings, the mountain animal was created in the north over winter and spring on a wooden board in traditional technique and life-size.
While painting, I thought: Too bad that Soraia cannot see the painted picture, because I had no desire for a lavish large exhibition. But then came the idea of my first one-image exhibition. The ingredients: A Swiss mountain, an old stable, a cow named Soraia and a painter with panel painting.
I called in Switzerland: 'Hans, I painted your cow. She is beautiful. Soraia must see the painting! We would like to make an exhibition on your Alp. ' 1,000 posters and postcards were printed. The Swiss Tourism Association in Gstaad and Bern was so friendly and distributed the advertising painter delivery.
In the movie 'The Fabulous World of Amélie', Amélie's father receives photos of his traveling garden gnome. What a nice idea. So, we showed the painting different places and photographed it.
The most beautiful encounter on the way to the cow took place in the Nuremberg Albrecht Duerer House. Since I am a Duerer fan since I was five years old, I really wanted to show the cow his home. In order to keep the memory of him alive, real actresses are guiding through the house as Duerer's wife Agnes and telling about the painter's history and the mood of his time.
We were lucky, our Agnes was smart and charming, and when she came to our panel, she said, 'Oh, how nice. This picture should be seen by my husband. He would like her! ' But the painter lord was not at home, so I would have loved to talk to him about his rabbit.‣ Here you can see Soraia on the way to the Gstaad.
Finally back on the alp. It smells soothing to herbs, humble bumblebees, the sun shines on paradise. It is very quiet. The cows sleep during the day and eat at night. So they are less plagued by the flies.
How great it is to see these people again! After reading our press release, which we had distributed in Switzerland, Hans was unsure: 'What do we have to do there at such an exhibition?' 'Nothing. Maybe selling milk and cheese to the guests.' 'Then it's good.'
While drinking wine in the evening he muses: 'Tell me, Manfred, can it be that you are as free in your painting profession as I am here on the alp?' We had almost forgotten about our extensive advertising on the Alp. Likewise, we forgot that down there in the valley the world makes vacation and that in all hotel rooms for days our cow postcards were.
The day awakened. We had breakfast in the sun. The question of the morning: Who will drive in this heat half an hour cable car and then, depending on age and fitness, hiking thirty to sixty minutes to a single picture in front of a stable on this mountain?
But then they came. First French, then Swiss, American, English, German, Japanese, Italian, Dutch. For two days. From sunrise to sunset. Painter and model were present in a surprisingly international exhibition. Not only art and painting lovers came, but also wealthy cattle dealers and experienced ranchers who collect only cow pictures.
We could have sold the picture many times. But no, it also wants to hang in our apartment in the future. You do not sell a princess.
An art historian drew my attention to the 1981 oil painting of ‣ Mark Tansey 'The Innocent Eye Test' owned by the Metropolitan Museum of Art in New York, which casts ironic views on art and its critics. As a reminder, we recreated the Tansey oeuvre on the alp.
After a week of exciting and relaxing alpine holidays, hugs, tears and the promise to see each other again. And goodbye Hans' words: 'Oh yes, you know Manfred, no one will know you after your death as a painter, but my Soraia, she will become age-old and world famous.'