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All color unevenness in my paintings are intended, desired and fixed component of the respective work. From the lush color applications of the Alla Prima technique (also called direct painting) to the gossamer layers of paint of the old master glaze technique, everything is possible on a single painting!

Das Medium Bildschirm stellt rein mit Licht dar - das Medium Gemälde hingegen besteht aus physischer Farbe auf Malgrund, auf das Licht lediglich trifft. Ein leibhaftiges Ölgemälde verfügt über unendlich viel mehr an Persönlichkeit, Farbe, Textur und Substanz als eine JPG Datei, allerdings wiederum leuchtet es nicht im Dunklen…

Every screen, whether smartphone, monitor or laptop, presents information differently on each device. Lighting conditions, device age, system settings, protective covers - they all affect the impression you get from a work. Therefore, the artwork you select may not meet your online expectations in physical reality - but it's equally possible that the artwork, when then in your hands, will exceed your expectations! The second is much more likely, because a painting simply lives and breathes in the original.

I admit it honestly: I want to exclude returns - and that in a natural way - that's why I also "go to great lengths" with my descriptions.

A return is not only another (and unfortunate) environmental burden due to additional transportation - it also means return shipping costs for you, and furthermore also causes me costs and expenses for reversal and reintroduction into the business cycle.

Returns would simply make this small store obsolete due to their high expense. I thank you for your understanding and for your consideration in this regard.

If you are not completely convinced by a piece, just come back later: there will always be new pieces, and at some point "yours" will surely show up!

If you should need something very special in terms of color, then it might be better to consider a commissioned work. I recommend then in any case a prior color coordination by sending your color samples after consultation: request

The layers of a classically constructed painting, consist ideally of: Painting base, gluing, primer, oil paint, painting medium and varnish. Within these components there is an infinite variety of possible combinations and approaches.

High-quality artist oil paint (as I also use it), has the advantage of high pigment density and color intensity, but due to their oil content in the binder, quite years to dry completely (deep drying). During this drying process, all paintings generally and inevitably experience different tensions and therefore (usually slight) movements between and within the various layers. It is also said that a painting "works".

A painting is therefore very complex structure and matures differently, depending on the materials chosen by the artist.

Room temperature, exposure to light, environmental pollution, temperature fluctuations, transportation, humidity, biochemical interactions - all these are additional factors and influences that keep a painting and its components constantly in motion and slightly changing in almost imperceptible, constant interaction. (One of the main tasks of museums and collections, by the way, is to handle precisely these factors in the best possible way). Especially an artist informed by classical training is naturally aware of all this and will always strive to ensure that this natural process may take place as imperceptibly as possible.

Stretcher frames are usually made of wood and can bend slightly over time - this causes the canvas to twist slightly, so that the work then no longer appears flat. Especially with strong temperature fluctuations in combination with stretcher frames made of insufficiently dried wood or wood with many knots, this can happen more often. All this is literally due to and in the nature of things. In this case, simply have the affected painting stretched on a new stretcher frame.

Due to the humidity of the air in the room, which is usually not constant, and natural aging of the fabric, it can happen that a canvas, for example, expands and begins to appear wavy. This is traditionally already assumed in professional stretcher frame construction: Slots for wedges in the corners of expandably constructed stretcher frames enable uncomplicated and fine re-stretching of the canvas by hammering them in deeper.

Over time, everything gets dirty. Environmental air pollution can be amazingly stubborn even indoors. If cleaning a work of art has become necessary, be sure to take it to a professional. Framers are also often gifted restorers. They will expertly clean your art collection, bringing back its former glow. Here is the recommendation of my home and yard frame maker Gregor Eder of "Passpartout" in Vienna:
"In most cases, a new, life-extending protective varnish can and should be reapplied in the process."

Larger canvases are best carried always in pairs, and with sufficient time, because in the rest lies the strength. You always handle paintings so that you do not touch the canvas itself- -only on the sides where it is stretched across the stretcher and at the back of the wooden cross (part of the stretcher that stabilizes it), if the format requires one.

For small and large canvases alike, if you need to pick up, carry, or remove a painting canvas from the wall, please make absolutely sure that neither your fingertips, nor the angled joints of your fingers, dig into the back of the painting when grasping the stretcher, and would thus damage it.

This is because you can very easily leave sharp dents in the fabric by doing so! This is the cardinal mistake par excellence when carrying and handling canvases.

Even if you "only" take a small canvas from a package, take enough time for that too. You do not know how the work was packed, where the protective packaging was glued inside, how thick the box or crate is, where the packaging ends and where the canvas begins. Enjoy the unpacking! Inside is a work of art - a treasure! Look at everything carefully before they apply the scissors, or knife to cut open the packaging. Please make absolutely sure that you do not damage the back or front of the artwork when opening it with your tool! If possible, and in intact condition, then pick up the packaging of the painting. It is also worthwhile to have unpacked with care beforehand. If you ever need to transport the painting yourself, move, take it to the frame maker, etc.. - then it is so well protected.

Also important, avoid putting bubble wrap with the bare plastic side on an oil painting! This can leave marks in the varnish of the painting from the air-filled blisters in the film. Especially if the painting would remain wrapped in it for a long time. You don't store paintings in plastic - that would encourage a buildup of moisture, and thus mold. These are, of course, extremes I am describing, but depending on where a painting is placed, from a damp basement to a blazing hot roof terrace in the summer, chilling in the winter, anything is possible and a middle ground, would be the most sensible thing to do here as well.

Once you have unpacked the painting, as always, watch your fingers (As explained above). You will probably want to lean the painting somewhere for the time being so you can view it from a distance. Again, be very careful what object you lean the painting against. It can slip off, and it's all too easy to overlook corners and edges that press into the painting from behind without you noticing, damaging it.

It is best to lean the painting against a wall. Make sure that it leans against the stretcher frame at both ends, and not against the bare fabric. That way it won't slip or fall over as easily either. Be careful there too, because of the deep drying that may not yet be complete (The painting could rub off if exposed).

Please also note when dealing with your walls, paintings can also be painted on the sides (like mine) - this allows you to hang them more attractively, and also without framing, the paint on the sides forms a final gradient - a natural framing so to speak. If you touch the edge of the painting too tightly to the wall, e.g. during hanging, then you will inevitably draw a line or more on your wall with the painting - it is then like a large, angular crayon - so watch out, even when hanging it is therefore recommended the help of a second person. As mentioned before, deep drying of a painting often takes a long time. With physical impact, it can then of course easily and longer to a color transfer to the outside (also, when handling the new painting, a little paint, usually from the sides or the back, can get on your hands. Hands then simply wash off with soap and water.

So you get yourself a little artist feeling!

Basically and fortunately, high-quality canvases are not as sensitive as you would think, forgive some handling errors and are more robust than you think, but still, with care and caution, you can save yourself a lot of unnecessary problems.

The mentioned factors, and countless other aspects of buying art, the art collector should be aware of and must accept. Information and insight into the matter is a great advantage. I hope I was able to support you a little bit.

I use high quality linen, high quality artist oil paints, high quality solid painting grounds and always make sure my materials are of the best possible quality and accurate application for longevity.

The artwork that leaves my studio is always dry enough for proper shipping.