(born Graz in 1959) Untitled, on the reverse signed, dated Herbert Brandl 91, oil on canvas, 140 x 110 cm, on a stretcher, (K)

Compare in:
Herbert Brandl, Neue Galerie Graz, Hatje Cantz, 2001, page 146, 174, 175
Theo Altenberg: Fictitious discussion between Werner Saatleder and Rudolf Kirsten, the manufacturer of the canvas from: Herbert Brandl, Galerie Acadamia, Salzburg 1995

Question: The greatest joy for a canvas is when the painter has mastery over very delicate and lusty lines and brushstrokes. How is it with Herbert Brandl?
Canvas manufacturer: The canvas and I both know that, with Herbert Brandl, we are in good hands.
Question: Have you ever seen Herbert Brandl painting?
Canvas manufacturer: Rarely, but as I have known him for so long, often. He used to paint more. There are different phases. Anyway, he only ever paints when he’s got nothing else to do.
Question: What do you mean?
Canvas manufacturer: Painting is the last thing he would do if he could avoid it, but in the end it can no longer be avoided. Although it’s increasingly painful to paint, which doesn’t hurt the work, in fact quite the opposite. The nice thing about him is that nothing is routine. As a result, one can still look at his early paintings today.
Question: So, in the end, do you find them to be beautiful pictures?
Canvas manufacturer: I’ve never seen an embarrassing painting by Herbert Brandl.
Question: Don’t forget that you’re allowed to lie. We’ve not spoken about truth.
Canvas manufacturer: There are those who feel the sensuous, those who feel the conceptual, and there are those that feel both and become ambitious. He is a very sensuous draughtsman, a painter of conceptual feelings whose perceptions and experiences flow into the world. And he’s very ambitious when it comes to conditions.
Question: Which conditions?
Canvas manufacturer: Extreme conditions, conditions of happiness, more sensitive feelings, entering even more raving discussions, more mischievous nonsense, more nonchalant, even lighter, etc.