Interview and Image by Corinna Heumann

What drives you, Georg Schnitzler?

The human being. The human being has always been at the center of my work. In my paintings, I portray the figure deliberately alone – not in relation to others, not interacting with the world, but as an individual. I’m not interested in depicting a specific person, but rather in capturing the essence of being human. The soul, in all its different expressions, is what I seek.

What does this perspective on the human being mean to you?

It’s a search for the core. Each figure I paint stands for the universal within the individual. I aim to show what connects us, what moves us deep inside. My work is always an attempt to make the invisible visible – the soul, the depth, the intensity of human existence.

Where does your fascination for people and for art come from?

I come from a family of artists – I’m the third generation.My grandfather was an artist, my mother as well. I grew up in this world – surrounded by painters, actors, musicians. Art was never a conscious decision; it was simply always there. I don’t know any other life. To this day, I’m fascinated by every form of creative expression – whether it’s visual art, theater, writing, or performance.

Which artists have influenced you?

Many. Egon Schiele, August Macke, Picasso, Matisse – these names have deeply inspired me. But one of the most powerful revelations was Lucian Freud. His radical honesty, his depth, his uncompromising depiction of the human soul – that really triggered something within me. You often speak about the soul – both your own and that of the viewer. How does that manifest in your work? Each painting is like a chapter.

My process is continuous – one work follows the next. The human being is my subject, but not in the form of portraiture. I try to depict the human soul – its fragility, its contradictions, its power. For me as an artist, it’s a tremendous effort, because it means exposing my own inner world. But for the viewer, too, it’s a challenge – they are invited to confront their own inner self. Art is an expression of empathy.

Your color palette is strikingly restrained. Why?

My use of color is quite monochromatic. Colorful, but never loud. This restraint allows the emotional depth to stay in focus. Color, for me, is not decoration – it’s a tool of expression, meant to support, not distract.

How did your artistic journey begin?

I attended my first art school at the age of twelve. I learned classical techniques, especially in printmaking – etching, for example. Later I studied fine arts. Over time, I also explored other forms of expression – writing, and especially theater.

You were also active in the world of theater. What role did that play in your life?

Theater was a detour – or maybe just another path into art. In the 1980s, I was part of Walter Bockmayer‘s theater company. I even performed on stage myself, but honestly – it never felt like my place. That’s why I founded my own theater, where I focused more on staging and directing. Through writing, I found my way back again – I created the schräg of show. It was an essential part of the International Cologne Comedy Festival for more than ten years. But painting never let me go.

When did you return to painting?

2014/2015 marked the turning point. That’s when I fully returned to painting. By 2017, I was actively exhibiting again. And things moved quickly: I received the Jury Prize at L’art au cœur de l’Europe, was invited to the Salon d‘Automne in Paris, and later to the National Arts Center in Tokyo. Since 2023, I’ve been a Sociétaire and curator of my own section at the Salon d‘Automne.

What does this development mean to you – returning from theater to painting, now with international recognition?

It feels like coming home. Everything I’ve done – theater, writing, directing – has shaped me. But painting is my true language. And finally, I can speak it the way I always wanted to.