seeing and hearing


Seeing and hearing: the power of the senses in the paintings of Manuela Kreibig-Wentzel

Colour is a means of directly influencing the soul.

W. Kandinsky


Visual art is combined with the power of music: the two sensations, hearing and seeing, are thereby connected.

A "synaesthesia" (simultaneous perception) arises, a phenomenon that Manuela Kreibig-Wentzel has used for her creative work.

Music is inspired by painting: many know the famous work "Pictures at an Exhibition", from the Russian composer Modest Mussorgsky, which was inspired by the painting of a friend.

But painting can also inspire music: an example of this is the work of Paul Klee, which was created while listening to classical composers and jazz music. Klee's musicality visually emphasized the aspect of rhythm.

Music and painting – two different forms of art? Yes, but they have a common root, which, according to Kandinsky, had an "original" tone.

The painter adds:

"I have created a series of paintings that were deliberately created in the presences of music." Sounds become forms, and melody becomes colour. Manuela Kreibig-Wentzel would like to pass on her experience as a viewer/listener and accompanies you along colour experiences in her abstract paintings. The starting point is that everyone has the potential to imagine and experience synaesthesia along with the music.

How is this done? By letting yourself become inspired by the colours and the tones of the music and feel a frenzy of colour in this sensory perception.


Mozart’s lightness of being

The ease and grace of the subtle reds and blues together with the contrasting black and white hover in different levels of our consciousness. The velvety colours are contained in boxes so that they seem to caress the soul.

The Mozart Cello Concerto in F major was chosen by Manuela Kreibig-Wentzel as the inspiration for this work. According to Kandinsky, the vibrating blue and red tones indeed correspond well with the cello.

The painting is determined by the allegro tempo of the music: easy, graceful, and harmonious like the different shades, which gently flow into one another.

Mozart–Gefühle (Mozart–Feelings , 150×120 cm, acrylic, oil, and lacquer, 2009


The colour vibration (i.e. the colour) has a psychological effect, which reaches the soul, increases in this painting in which the generously applied colours stimulates vision and other senses. There is not a single unpainted spot in this large-format painting. Everything is colour. The colour harmony merges with the stringed instruments of Mozart's String Quartet No. 15 in D minor, and the overall composition could be summarised as follows:

Mozart's String Quartet No. 15 in D minor:

Violin: magenta

Viola: cadmium red

Violoncello: violet

Bass: purple

Conductor: Manuela Kreibig-Wentzel

Composition Rot 1 (Red 1) 120×120 cm, acrylic and oil, 2009

Ravel's Sounds

Ravel’s Sounds

Sounds in the vortex: the constant crescendo of the famous piece by Ravel – Bolero – is visually represented in two stages. Red and a covered blue, which slowly emerge in circular vibrations, make the start. The colours change to yellow – red and blue switch, mix into each other, and develop other tones, which are also applied in a circular motion: they refer to the combination of topics covered in this explosive orchestral piece.

The artist penetrates the spirited and extremely rhythmic music of Maurice Ravel, thus resulting in the creation of this impressionistic painting. The 14-minute-long Bolero visually represents moods and impressions: an explosion of colour that starts as a vortex and then "flourishes" like the onset of instruments in the Bolero. The round, swinging forms also inspire rhythmic attitudes. A dance of sound and colours!

Hommage an Ravel (Homage to Ravel) 100×120 cm, acrylic, 2010

Bolera, 100×140 cm, acrylic and oil, 2010


Earth, water, air, and fire: the four elements of nature are echoed in four dynamic paintings, which arose using Vivaldi's famous works. The poetic narrative of nature is realised through various colour representations, which culminate in forms and spontaneous patches of colour.

They allow the viewer to sense a light breeze, a strong heat, a stormy gust of wind, or the impression of snow: their shadows can be recognised in a flower, the ochre-coloured earth sits under a large dark grey cloud, and the dark-blue sky harbours snow. The repeated refrain of colours and shapes, which are almost separated from each other, is evident in the paintings.

Allegro, allegro non molto, allegro, allegro non molto: this sequence includes each of the four seasons, which get a hint of warm tones in summer and in winter while in spring and autumn, cold colours are in the forefront.

Four seasons


The rapid and spontaneous patches of blue, which form different dark and light areas, fill the entire area of the painting and represent a seemingly endless sky.

A small red shape in the centre of the painting carries representational features. It appears to be a marionette detached from its threads and floating in the middle of the wide atmosphere and detached from their threads. Like a comical figure or a gnome, the marionette tries to evolve in the myriad of confusions and difficulties. It is accompanied by an original and intense light from behind.

In the upper right corner, red caricature-like facial features of a great spirit, ironically and mockingly hover above the marionette. Here, the painter breaks all the rules: she playfully goes against the norms of art and life, which resulted in Capriccio.

A fickle and playful melody of colour impressions and witty characters hovers above the painting: Carlo Munier's Capriccio Spagnolo, Op. 276: for mandolin and guitar is the sound that stimulated the artist.

Capriccio, 140×100 cm, acrylic and oil, 2012


This painting appears to have made a light path from the galaxy of ethereal matter...

Was it a force like the big bang? Is this the development of life? Could you imagine a larger entity? What emerged from the chaos?

Violet is the colour of spirituality. It leaves free room for the above thoughts, while the black, patch-like forms that appear from above and below try to connect them. Like the touch of two hands in Michelangelo's Creation, the painter suggests the moment of creation. The intense, bright light that comes from above increases in the lower half of the painting in order to emphasize the aura of mystery.

Haydn's Oratorium hovers around the atmosphere: the chorus of simultaneously applied hints of colour emphasises the power and violence of this moment.

Genesis, 100×140cm, acrylic and oil on canvas

Wagnerian storm

A sketch of a human head in the right of the painting is reflected in a white mirror: it is a man without facial features, without identity. It is a mirror that is not a mirror. The head and the mirror dissolve into parts, and both lose their originality.

The deconstruction of the forms arises like a storm under the influence of Wagner's music. The abstraction of objects melts with the notes Wagner's Ride of the Valkyries.


The white area in the middle of the painting resembles the Valkyrie rocks on which Brynhildr was damned to eternal sleep by Wotan. She is protected by fire (red elements around the painting) and a sea of snakes (the black areas) until a true hero (Siegfried) comes to wake her. In the round element in the lower left, you can see the watching eye of Wotan. The Ride of the Valkyries from Wagner's opera hovers around the nascent painting.

Wagner-Sturm (Wagnerian Storm), 120×90 cm, acrylic lacquer, 2010

Improvisations of operas

These four paintings can visually flow into one another and symbolise four female characters and their emotions. A homage to the painters favourite opera singer: the sopranist Maria Callas.


A sea of easily moving waves: the overwhelming force of the intense turquoise visually represents the element of water.

The tenderness and fragility of Mimi, the leading actor of Puccini's opera La Bohème, is symbolically represented in the purity of the water.  A painting of a woman just at the moment she falls in love.  The viewer's eye searches for depth and rest in the blue and green while the sounds of the famous area provoke the spiritual vibration of the famous aria. The curled waves of water resemble the high vocal sound. The fine and pure touches of colour of Mi chiamano Mimí colour the whole atmosphere of this work.

Mimi, 80xc80 cm, acrylic, 2012

Madama Butterfly

A soft field of green grass interwoven with individual ponds dominated this painting. Delicate and velvety shades of green and blue unfold over the entire painting and lend an evocative atmosphere.

The resolution of the forms leads to the abstraction and fusion of the scenic plains, thus giving the impression of experiencing a special moment. The effect of the painting does not only remain at the surface because the colours were applied in such a way that they create a deep impact.

This depth is further transferred to a psychological level. In un bel dì vedremo, the notes from the second act of Puccini's aria are presented in the character of Madama Butterfly.

The variation of the generous paint brush stokes is accented by a touch of melancholy. The doubt of Butterfly, who has been waiting three years for the return of her American husband, indicates internal hope in this aria. The hopeful moment blows both strongly and lightly in the wind and is noticeable throughout the entire painting. But the bitter end is virtually unstoppable. No other colours are used in the painting.

Madame Butterfly, 120×80cm, acrylic and oil on canvas


A palate of colour in green and blue that range from dark blue, turquoise, sage, and grass green into the yellows.   Colourful emotions are incurred in the observer and for the painter, they suggest strength and unending love.

Vissi d’arte, vissi d’amore sings the singer Tosta in Puccinis opera of the same name. With her jealousy and irrationality, she leads Tosca to drama. In her painting, Manuela Kreibig-Wentzel emphasizes artistic purity of this female character, who loved generously until her death.

Tosca, 60×40 cm, acrylic and oil, 2009


Various tones are used playfully to suggest flowers with numerous petals. The flower is a symbol of femininity and the past. In Verdi's Oper La Traviata, which is based on the novel, Lady of the Camellias, Violetta is the feminine inspiration of this painting. Enchanting and outwardly flirtatious but fragile and sick inside, Violetta is like a beautiful and ephemeral camellia.