Signatur Kornberger
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of the oil paintings

Alfred Kornberger was a calm person but also a revolutionist. He was soon influenced by the expressionist paintings of Picasso and Braque, and developed his own significant way of passionate painting.
Kornberger cultivated motifs, not expression. Erotic forms and colourist outpouring determined his art. The obsessed painter recorded success as well as failure: in his pictures he often finds himself tamed and submissive, but mostly he became passionate in enthusiastic, contemplative work: scenes, which he showed as snapshots.
Painting for him was a medium, a transformer of supernatural phenomena, which were to be recorded. Uniting the visible and the invisible - Alfred Kornberger uses the canvas as a stage for his performances in which he acts as performer of sometimes even bizarre roles.

The cycle of »Zeus« (»Zeus-Zyklus«) makes this metamorphosis possible for Kornberger and lets him rise from his modest real life to a more elegant way of being. In the role of the omnipresent fog or a serving bicycle he presents himself as creator and actor.

His nudes are the most impressive part of his work. In the beginning these female acts were idealized, later the illustrations become more drastic. The change of location from the studio to the varieté opens up to the artist new perspectives. Music, dance, acrobatics and lots of ladies with all their charms define his art. As a male person he submits himself to those deceptions, as artist he looks at them quite clearly. Great chalk drawings, which he creates on site, are the results of his work. In the cycle »Moulin Rouge« (»Moulin Rouge-Zyklus«) Kornberger discovers motion and explores it through line and colour.

Besides this extravagant life style he keeps in mind the world's crudeness, refers to humanity and protests against war and violence. Faces and figures become distorted - man loses the paradise.

The cute ape acts as parody of the man's succumbing to female temptations; Kornberger makes a fool of himself and with him the whole masculine world - beginning with Adam. One can find deep emotions in this cycle and with the »Apocalypse of St John (Apokalypse des Hl. Johannes)« Kornberger acts out reveals the remotest corners of his soul.

His work becomes with lighter, more colourful; the artist celebrates his life, studio festivals dominate his everyday-life.
Kornberger organizes courses on studies of the nude and re-integrates himself into social reality. At the same time Kornberger becomes seriously ill.
In spite of his illness Kornberger creates the »Cycle of Insects (Insekten-Zyklus)« - a world in which the insects assert themselves and due to their adaptability survive everything and everybody.
Often the artist presents himself as a threatening insect which attacks the society and which doesn't even stop with meat. Meat, which Kornberger depicts in his slaughterhouse pictures in a brutal but aesthetic manner.

In his last years Kornberger's work reflect the extensively variety of his Œuvre, which expresses his inner cosmos and his desire to record as much as possible on canvas and paper.

The nude is transformed into something abstract and headless. This innovation shows the great value of Kornberger's work. He overcomes earthly obstacles and dogma and records the healthy bodies of his models, which he is showing in a significant and spontaneous manner - as if he knew them by heart. Death he understands as sleep - with which he obviously made a pact in order to create some more works.
He focuses on the female fuselage and presents it in a tremendous variety as if he persisted at the origin of life at the end of his life - with great expectations of a new life at the same time.

Kornberger's last pictures can be understood as a balance sheet of his entire Œuvre for they consist of all the elements of his previous work. His abstract work contains landscapes, nudes, Zeus, insects, mirrors, and tiles. The colour is evident until the very end - his last drawing remains an intimate secret.

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