A golden evening over the Wilder Kaiser forms the starting point of this small-format painting. Here, the distinctive light of sunset is not merely the motif but the true subject of the work.

Both the title Impressions, Sunset and the painterly approach consciously enter into dialogue with nineteenth-century French Impressionism. While the Impressionists often created luminous effects through light-colored—and especially white—pigments applied in the upper paint layers, this work follows a different path. Over several weeks, successive layers incorporating beeswax were built up to create exceptional transparency and depth. As a result, the light appears not to rest on the surface but to emerge from within the painting itself.

Depending on the viewer’s angle, the perception of the surface shifts, changing the character of the work. The painting engages with the central Impressionist question of the fleeting nature of light, while translating it into an independent contemporary painterly technique.

No. 14 is closely related to No. 13/36. Both paintings depict the same evening at the Wilder Kaiser, separated by only a short interval of time. Together, they reveal how rapidly light, color, and atmosphere can change within the span of just a few minutes.

The title deliberately refers to Claude Monet’s Impression, Sunrise, first exhibited in Paris in 1874 at the inaugural Impressionist exhibition—the painting that later gave the movement its name.