The paintings of Markus Krön are like letters from a lover who does not declare himself to his beloved. Thus she shows herself to him completely natural in everyday look, without any play up, without disguise.

When Markus Krön dedicatedly places his wind turbines, his pylons and his soccer goals into the painted landscape, or when he sets light reflexes to the glued on mullions of of a smallholding, it is as if he watched adoringly his beloved at any of her housekeeping duties. Everything she does, each dress she wears, excite him. And she does a lot and often changes. At times lonesome and yearning, then magnificent and brilliant, she unknowingly bewitches him.

Pepsch’s Hall behind the vegetable garden, attractive in spite of not being plastered, is able to hold up against any light variation, and when a rainbow spans over Senning brook and Schmiedgasse, a smile enters all four chambers of Markus Krön’s heart. Silage balls grace the edge of the road like a pearl chain around the neck of the beloved, tufts of grass blow about in front of electric lines like hair over a smile full of braces.

Everything about her is beautiful. New fascinating details are discovered by the artist all the time about the landscape surrounding him, and already well known details appear new and more moving with every light and cloud variation. The various changes in light and clouds, trough their standard appearance in various villages, seem to be even more moving and exciting to Markus Krön. Fascinated to such an extent, he often spontaneously grabs his camera, or right away his brush, and tries with all his might to move his strong emotions onto the canvas.

The results, digitally photographed and brought to paper in a complicated process for this catalogue, you may not be able to see directly, but at least to guess.