On Prof. Bernd Dietrich-Heßbrügge's Triology - 1999
‍(last picture)

In Bernd D. Heßbrügge's triptych, created in Calgary in 1999, figures and bygone eras emerge from the `flying sands of time` and fade away, depending on how the light falls on the canvas. Across the history of humanity, over steps and spiral staircases, through viaducts and dark corridors, the artist leads the viewer of his world view. The composition is divided into two clearly separated zones. The upper part of the picture depicts the 'sphere of being' in which the main events take place; the lower third of the picture deals with the beginning of earthly life, the 'process of becoming'. Mother Earth emerges from the oceans as a shadowy, massive figure with her horn of plenty. Her left leg with the full thigh is still in the water, the origin of all life, as a sign of her fertility. This 'germinating life' is indicated by the huge embryonic head in the lower corner of the picture, only part of which has been broken out of the primary rock. The two pillars of human civilisation, which frame the picture, also develop out of the sea of the world: to the left the twisted column, which as the bearer of the act of love and love is the backbone of human development, to the right the totem pole of the primitive peoples, symbol of clan affiliation and tribal identity but also of the early days of human society. The importance the artist attaches to this 'cradle of cultures' is shown by the globe, which floats as a perfect round above the pole. The vertical consolidation of the composition at the edge of the picture, determined by columns, finds its origin in the two diagonal opposing main things, the intersection of which is the soldier with the carefully carved copper helmet. He is thus the focal point of the action. This thematically as well as stylistically plausible division promotes the calm narrative tone. At the same time, the many corridors and transitional staircases unite the overall composition into a harmonious whole. The fact that the 'unity of diversity' succeeds despite the eternal 'die and become' is also due to the unusual sand technique. It creates the gentle 'chiaroscuro' effects that appear as if by chance and make the colours glow. "I can control the illuminated advertising;" explains Bernd D. Heßbrügge. "The path of the pigment is pre-scribed. It seeks its course in the sand and collects in the depressions."It seeks its course in the sand and collects in the depressions." While the viaduct causes a division running from bottom left to top right, the counter-axis comes about as if by itself through communication between the actors.

The slightly open mouths of the devil, the soldier and the aged commander testify that there is direct contact between the three figures. The commander's influence on the soldier and thus on war or peace seems weak. His features remain shadowy and dissolve into a double face. He is the state-bearing, God-given force, the bearer of hope who may no longer be able to prevent war. The eternally feminine, life-giving, implied in the full-breasted torso above his head, establishes the link between commander and god-being, a bearded old man's head sketched in graffiti style in the upper third of the picture. The devil's power over the soldier is also limited. Lucifer operates from a dark enclosure, his gaze fixed firmly on the soldier. As he does so, he places his paw on the god-being's shoulder, presumably to weaken his influence. The soldier's sightless profile is turned towards the commanders. His I merges with the helmet to form a tightly knit unit. While he is engaged in a dialogue with the paternal commander, he has long since entered the Popen's sphere of influence. The churchman embodies the Christian faith. He is the counterpart of the commander and, like him, partakes of divine grace: a broad beam of light, emanating directly from the God-being, illuminates his slightly upturned, angular face. The Pope is the only one who possesses truly superior power.

Only the tonsure indicates the spiritual dignity of this figure. The energetic profile is more reminiscent of the type of Renaissance military leader depicted by the condottiere and humanist Federico da Montefeltro in Piero della Francesca's painted profile portrait. It is the great leitmotifs of our earthly condition, the 'collective unconscious', that moves the artist: tribal myths and civilisation, Christianity, God and the devil, church and state, war and peace. The human being is at the centre. Like the soldier, he needs an orientation guide, a route to follow. He does not know his way, is in the crosshairs of conflicting forces. Will he become the plaything of these powers or can he use his free will to decide for himself which direction to take? Bernd D. Heßbrügge places the soldier under the command of the priest. Church history is rich in warlike popes and bishops. It is therefore not impossible that the pope sacrifices the soldier to his power interests.

Wars, they say, are in the nature of man. Yet there is hope. The gentle 'fumato' of the delicate tonal gradations reminiscent of Leonardo. Lies like a haze of light and air over the pictorial action, designed with old-masterly care, and creates a lyrical mood. "For a long time I was preoccupied with the war," says Bernd D. Heßbrügge. "Now I want to devote myself to peace."

Dr Marilies von Brevern, art historian‍