Detail: A Part of Eternity No. 15, Self Portrait as a Korean Zodiac Hare.
This first group of works from “A Part of Eternity” are with natural and mineral pigments in oil on either cotton or linen canvas. The majority were painted in the 1990s. Some were reworked between 2000 and 2007. The paintings usually juxtapose a nude with one of the sculptures in the Munich Glyptothek Museum.
A Part of Eternity No. 4, Ute's Song. 60 x 97 cm. Sold.
A Part of Eternity No. 6, Leidenschaft in rot. 60 x 85 cm. Sold.
A Part of Eternity No. 5, Lamentation in red. 87 x 121 cm.
A Part of Eternity No. 7. Sold.
A Part of Eternity No. 9, Silent Souls. 60 x 97 cm. Sold.
A Part of Eternity No.10, Falling Warrior with Dancers. 89 x 118 cm. Sold.
A Part of Eternity No. 11, Old Souls. Sold.
A Part of Eternity No. 14, A matter of life and death. 1995. 58 x 94 cm. Sold.
A Part of Eternity No.15, Self Portrait as a Korean Zodiac Hare. Sold.
A Part of Eternity No. 16, Waiting for the Right Man. Sold.
A Part of Eternity No. 21, Into the Other Realm. 50 x 81 cm. 1996. Sold.
A Part of Eternity No. 22, Somewhere between Heaven and Life. 42 x 55 cm. Sold.
A Part of Eternity No. 23, Luna. 42 x 60 cm. 1996. Sold.
A Part of Eternity No. 24, The Uncovered One. 42 x 59 cm. - 16.5 x 1996. Sold.
A Part of Eternity No. 25, Fallen Angels. 42 x 68 cm. 1996.
A Part of Eternity No. 26, Aphrodite and the Angelic Life. 50 x 62 cm. 1996. Sold.
A Part of Eternity No. 27, Death and the Maiden. 38 x 88 cm. 1996-2005. Sold.
A Part of Eternity No. 30, Warrior and Lover. 50 x 81 cm. Sold.
A Part of Eternity No. 31, A Golden Moment. Sold.
A Part of Eternity No. 37, Ceremony of Light. 80 x 87 cm. Sold.
A Part of Eternity No. 35, Daydreaming Venus. Sold.
A Part of Eternity No. 39, Echo. 60 x 87 cm. 2001. Sold.
A Part of Eternity No. 42, And the Gods became Saints. 130 x 140 cm. 2003. Sold
A Part of Eternity No. 40, Time to Change the Gods. 73 x 75 cm. 2002. Sold.
A Part of Eternity No. 41, Requiem for New York. Relief Painting 128.3 x 150 x 18 cm. 2002. Sold.
The Last Supper 2004. Natural and mineral pigments in tempera and oil on linen glued to a wooden panel. 120 x 194.5 cm - 47 x 76.5 ins. Sold.
The Last Supper study. Natural red chalk and was on paper. 95 x 200 cm - 37.4 x 78.7 ins.
The artist worked on “The Last Supper” between 2002 and 2004. Originally, the painting was conceived of as an historical event. This intention underwent a transformation during the working process partially due the re-reading of some of C.G. Jung’s collected works especially those related to the Gnostics.
C. G. Jung’s profound and intellectually challenging exposition of the archetypal nature of Christ in volume 11 of his collected writings, “Psychology and Religion” states, “It was this archetype of the self in the soul of every man that responded to the Christian message, with the result that the concrete Rabbi Jesus was rapidly assimilated by the constellated archetype”.
Last Supper studies
Transcription: The Assumption of the Virgin Mary by Jacopo Tintoretto
These works marked the transition to natural mineral pigments at the beginning of the 1990’s.
Tintoretto transcription, The Assumption of the Virgin Mary. 1990-1998. Natural mineral pigments in oil on canvas. 198 x 123 cm - 78 x 48.4 ins. Private Collection.
Tintoretto transcription, Study No. 8. 120 x 80 cm. - 47.2 x 31.5 ins. 1991
In 1974, I made many drawings at the London National Gallery of the Poussin painting “Bacchanalian Revel before a Term”, the Dancers in the “Golden Calf” painting as well as the “Dance to the Music of Time” and the relief of the “Borghese Dancers” at the Wallace Collection. Between 1975 and 1976 I made the following two transcriptions.
Poussin Transcription: Bacchanalian Dance before a Term. 99.7 x 142.9 cm / 39.25 x 56.25 ins. 1975.
"Serenade". A transcription of Poussin's "Dance to the Music of Time" and the "Borghese Dancers". 1976. 152.4 x 213.4 x 4 cm deep / 60 x 84 x 1.6 ins. deep. Silk, tissue paper and oil on canvas.
Artist's Collection
ARCHIVES
The following works predate the use of natural mineral pigments from the mid-1960’s in the artist’s teenage years until 1988 with works exhibited during the 1980’s in Munich, Frankfurt, Erlangen and Cologne.
The Four Seasons, Spring - Eve. 190 x 162 cm / 74.8 x 63.8 ins. Chinese ink and oil on canvas (repainted with natural and mineral pigments, 2009-2011)
The Four Seasons, Summer - Universal Fire. 1989. Chinese ink and oil on canvas (repainted with natural and mineral pigments 2009).
The Four Seasons, Autumn - Bacchus. 1989-1990. 162 x 212 cm / 63.8 x 83.5 ins. Chinese ink and oil on canvas (repainted with natural and mineral pigments 2009-2011).
The Four Seasons, Winter - Nefertiti. 1989. 190 x 190 cm. Chinese ink and oil on canvas (repainted with natural and mineral pigments 2009).
Water Walker. 250 x 200 cm - 110 x 78.5 ins. 1985.
Tandem for Four. Approx. 200 x 300 cm. 1994.
Drakos. Chinese ink and oil on canvas. Relief element, Japanese paper stretched on wire. 236 x 222.5 cm - 92.5 x 88 ins. 1988.
A small selection of works from the 1980’s with Chinese ink and gouache on paper, or oil on canvas.
Lichfield Cathedral. Dry-point etching. 1965.
English landscape. Oil sketch on board. Mid-1960's
