Untitled 1965

Konrad Lueg made this painting with layers of green paint and some lovely red and pink accents that create a visual sensation like standing in a field. I can imagine Lueg in his studio, wrestling with the canvas, pushing the paint around with brushes, maybe even his hands. There’s something about the way the greens swirl together, like currents of thought merging and diverging. It’s not quite abstract, not quite representational, but hovering somewhere in between. The texture of the paint suggests it was applied in layers, each stroke a decision, a question, a response to what came before. The surface isn't flat but alive with subtle shifts and changes. Look at how the red and pink flower shapes float on the canvas, asserting themselves against the green. Lueg’s paintings are often associated with the work of other German artists like Gerhard Richter, who also explored the intersection of abstraction and representation. Paintings are conversations between artists, a dialogue that stretches across time and space. They show us that painting is an embodied form of expression, embracing ambiguity and uncertainty.