In about 1970 Günther Scharein started with picture objects made of cardboard and screen printing works. In 1978 he changed to works with a paintbrush that made it possible to explore the three-dimensional quality of color to a much higher standard. Scharein developed his meticulous early line technique into a half-tone grid consisting of hundreds of tonal color sequences and thousands of dots. This color research linked to a certain spiritual charge via picture titles and echoes in terms of motifs related to german painters from renaissance and romanticism like e.g. Matthias Grünewald and Caspar David Friedrich. The spherically abstract quality and painterly intensification of the religious subject can be seen as a foil to the Sehnsuchtstriptychon from the Daimler Art Collection. Scharein releases the concrete exploration of the workings of God’s grace as depicted in the works of the art historical predecessors into free color movements, which might be followed by the observer individually and emotionally.