Werner Meyer

In this way, from the point of view of the artist, all anecdotal and
narrative material description disappears.– the moment is transformed into an
abiding tranquillity. The portrait of the village concentrates on the essentials.
One’s perception is that the geometry of the buildings has been reduced to two
dimensions, which is a substantial achievement of constructive observation.
The solidity and significance of the buildings has been translated into the
language of painting. The geometry of the outlines comprises the sensuality
of painting. The pictures are timeless, they are free from any narrative
elements and find their serenity in meditation.

Werner Meyer, Albhäuser in the paintings of Hannelore Fehse, in:
Hannelore Fehse, ALB-HÄUSER im Haus auf der Alb, 2011, p. 10 f.

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