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Bernhard is a keen cityscape painter and uses any means he can to put the mayhem of the metropolis up there on canvas. Zu meinen Städte- und Landschaftsbildern, die in freier Natur entstehen brauche ich ein Kontrastprogramm im bescheidenen Atelier.

Exhibition in London Catto Gallery October 2015 There are two paintings in this new exhibition by Bernhard Vogel that perfectly illustrate the masterly powers of the Austrian painter. A view so popular, you could argue, it’s a bit of a cliché. ‘Primrose Hill, London I’ depicts the cityscape in dancing lines and rich verdant colours. It didn’t take long for Bernhard’s work to reach a wider audience.

Self-evidently, the two works depict the view from one of London’s popular landmarks. He’s one of the gallery’s most exciting and well-loved artists. He soon became involved with a local school of watercolorists.

It’s a typical Vogel piece, his loose-limbed brushwork conjuring the world-famous skyline with beautiful economy. He was part of the 1985 Salzburg Summer Academy, and two years later he embarked on a career as a full-time artist. In time, Bernhard turned his attention to oil and from there to mixed media.

Regular visitors to the Catto will not be surprised. After a motorbike crash, Vogel picked up the brushes he’d abandoned as a schoolboy and re-discovered his passion and talent for painting.

Es waren Statussymbole und Zeichen von Reichtum, die man in Form von Bildern auch zeigen wollte.

Das Blumenstillleben begann seine Entwicklung besonders in Holland und erreichte in der Zeit der Romantik vor allem in England eine Blütezeit.

This technique works especially well in Bernhard’s marvellous urban scenes. In this show, for example, a sheet of corrugated paper stands in for the ridged walls of a skyscraper on ‘New York Lower East Side’. Bernhard’s work is heart-stoppingly good in every conceivable measure: the nuanced colour, the striking composition, the visceral textures.