Still life

Our anchor for communication is someone’s expression, someone’s face, from which we read what he or she thinks and feels, and whether we turn toward or away from them. The objects in Lindenberg’s pictures deny being decoded, do not have a face but are bare, lacking anything that would allow their quick classification. Thus it is not important whether the object is a skull or skin. Rather, you ask yourself why a person enters a dialogue with an animal skull, or whether the asymmetric number of some pictorial objects deals with the disappearance of the anthropocentric concept of the world, or how a surface can become a pulsating, breathing pictorial space. Painted skulls and their original medium, the osseous, meld with the surface of the painting like with skin and thus become the pictorial body, produce form and space.
Hartl Lydia Andrea, Erich Lindenberg. The collection of the Art Foundation Erich Lindenberg; TRANS-Visible beyond the Visible, Kerber Verlag 2010, page 35.

Still life


Our anchor for communication is someone’s expression, someone’s face, from which we read what he or she thinks and feels, and whether we turn toward or away from them. The objects in Lindenberg’s pictures deny being decoded, do not have a face but are bare, lacking anything that would allow their quick classification. Thus it is not important whether the object is a skull or skin. Rather, you ask yourself why a person enters a dialogue with an animal skull, or whether the asymmetric number of some pictorial objects deals with the disappearance of the anthropocentric concept of the world, or how a surface can become a pulsating, breathing pictorial space. Painted skulls and their original medium, the osseous, meld with the surface of the painting like with skin and thus become the pictorial body, produce form and space.
Hartl Lydia Andrea, Erich Lindenberg. The collection of the Art Foundation Erich Lindenberg; TRANS-Visible beyond the Visible, Kerber Verlag 2010, page 35.

Drei Schädel in blau,  2006
pastello su carta
168 x 114 cm

Kleine Reihe, gelb,  2004
pastello su carta
50 x 75 cm

o. T., 2002–2004

olio su tela

50 x 60 cm

e.a., 2004
acquaforte
15 x 10 cm

o. T., 2002

olio su tela

125 x 93 cm

Schwarzer Tierschädel, s.d.
pastello su carta
90 x 70 cm

o. T., 2002

olio su tela

100 x 119 cm

chädelbild, 2003-2006
acquarello su carta
15,5 x 10 cm

Dialog IV, 2002

olio su tela

150 x 200 cm

Schädelbild, 2003-2006

acquerello su carta

21 x 15 cm

Begegnung II, 2002

pastello su carta

120 x 80 cm

Schädelbild, 2002

olio su tela

220 x 110 cm

Schädelbild, 2003

tecnica mista

21 x 15 cm

Schädelbild, 2002

olio su tela

150 x 200 cm

Schädelbild, 2002

olio su tela

220 x 110 cm

Schädelbild, 2002-2004

olio su tela

200 x 300 cm

Quitten I, 2002

pastello su carta

107 x 66 cm

Schädelbild, 2001

acquarello su carta

15,5 x 10 cm

Schädelbild Elephant, 2001

olio su tela

200 x 150 cm

Dunkler Schädel auf blauem Hintergrund, 2001

acquerello su carta

13,5 x 19,5 cm

Schädel Schaf, 1984-1989

olio su tela

59 x 43 cm

Schädelbild Elephant, 1978-1980

olio su tela

110 x 95 cm

Schädelbild Elephant, 1978-1980

olio su tela

110 x 95 cm

Schädelbild, 1978

pastello su carta

69 x 52 cm