Maria Wallenstål-Schoenberg


1959 Born in Uppsala, Sweden

1978-83 Studied at the University of Uppsala

1983 Scholarship from the German-Swedish Chamber of Commerce

1984-87 Scientific work at the University of Uppsala

1990-97 Ulm School, lecturer Clemens Etz

1997-99 Board member of the “Künstlergemeinschaft Wiblinger Ring”, Ulm

2004-08 Academy of Fine Arts, Munich, class discussions with Prof. Jerry Zeniuk

2014 Member of “Neue Gruppe – House of Art”, Munich

since 1999 lives and works in Munich


Jubiläumsausstellung, Galerie Filser & Gräf, München

Färg 4, Maria Wallenstål-Schoenberg, Galerie Ulf Larsson, Cologne

About Color, Galerie Ulf Larsson, Cologne

MaterialMalerei-FarbMalerei, Doppelausstellung mit Werken von Jürgen Paas, Neue Galerie Landshut e.V, Landshut

Farbfindungen, Kunstraum Detmold, Detmold (K)

Quando il colore ha la dimensione del pensiero ed emoziona, Five Gallery, Lugano, Schweiz

“Färg III”, Galerie Wesner, Konstanz

“Färg II”, Galerie Ulf Larsson, Köln

„Färg“, Galerie Filser & Gräf, München

„Farbe konkret“, Galerie Ulf Larsson, Köln     

„Aufgelöst konkret“, Halle 50 mit Galerie Filser & Gräf, München

„Farbmalerei“, HVB Ulm, Ulm, mit Galerie Filser & Gräf

„Farbmalerei“, Galerie Filser & Gräf (K)

„Farbmalerei“, Orangerie, Englischer Garten, München      

„Konkrete Farbmalerei“, Kunstforum soziale Skulptur e.V., München 

Galerie Metz, München


Blütezeit, Halle50, München

Preview art Karlsruhe, Galerie Filser & Gräf, München

Hard Edge, Circle Culture Gallery, Berlin

Konform_Reform, Neue Gruppe, Halle50, München

Lange Nach der Museen, Halle50, München

Neue Galerie Landshut, Domesic Space Christmas Edition II

Grande Serata, Five Gallery, Lugano IT

Domestic Space – Domagk Edition 2, Galerie Zweigstelle Berlin in Halle50, Munich

MUST-SEE! Galerie Filser & Gräf, München

Wintersalon 2020, Galerie Ulf Larsson, Cologne

Polaritäten II, KVD Dachau

Interaction, Galerie Filser & Gräf, München 

Polaritäten I/ Drei skandinavische Positionen, Halle50, München

Wintersalon, Galerie Ulf Larsson, Köln

Polaritäten II/Drei skandinavische Positionen, KVD e.V. ,Dachau

DEL COLORE E DELLA LUCE  | Museo dÁrte Sacra,  Camaiore, IT

Tutti pani del modo | Fondationi Sassi, Matera, IT

Blackout, Neue Gruppe e.V., Halle 50, München

„de nun“ Augsburg  Contemporary, Augsburg


NEW SPACE! Neue Arbeiten von Künstlern der Galerie, Filser & Gräf, München

Wunderkammer, Halle 50, München

Neue Gruppe in Schloss Neuburg, Landkreisgalerie Schloss Neuburg

Domestic space, Zweigstelle Berlin, Schloss XY

Domestic Space | Munich Edition, Zweigstelle Berlin @ Galerie PunktPunktKommaKunst, München


FLASHBACK, 10 Jahre Filser & Gräf, München

Five Gallery, Lugano, Schweiz

Objects of desire 2017, Halle 50, München

Kunst heilt Medizin – Zehn Werke, Katholisch-Theologische Fakultät der Karl-Franzens-Universität Graz, Österreich

Domestic Space | Christmas Edition, Zweigstelle Berlin @ Neue Galerie Landshut


“Form & Color” mit René Dantes, Galerie Filser & Gräf, München

“Color and structure”, Galerie Ulf Larsson, Köln (Doppelausstellung mit Reiner Seliger)

“Raum und Farbe”, Boretty contemporary art, München 

Doppelpass-Rückspiel, Galerie Prisma, Südtiroler Künstlerbund, Bozen

2H5021K, Halle50, München

small&mighty, Galerie Filser & Gräf, München

Doppelpass 6×2 Positionen, Halle50, München

Accrochage, Galerie Filser & Gräf, München

“IN TOUCH”, Galerie Floss und Schultz, Köln

First View, Galerie Filser & Gräf, München

Kunstverein Ebersberg, Jahresausstellung, Ebersberg (K)

Painting Black, Sylvia Wald & Po Kim Gallery, New York

Galerie Thomas Punzmann – fine arts, Frankfurt

“reduktive art”, Galerie Filser & Gräf, München


Galerie Thomas Punzmann, Frankfurt

UnArtig, Halle 50, München

“Konkret Expressiv”, Galerie Thomas Punzmann, Frankfurt

Kunstverein Ebersberg, Jahresausstellung (K)


Zwischenzeit, Galerie Filser & Gräf, München

„Edition I“, Halle 50, Domagkateliers, München

„Grünes Leuchten“, Halle 50, Domagkateliers, München


11×11, ApArtment, Galerie Filser & Gräf, München

Jahresgaben, Halle 50, München

Galleri art-on, Kungsbacka, Schweden


x-mas, ApARTment, Galerie Filser & Gräf, München

„kleines Format“, Kunstverein Aichach, Aichach


Kunstverein Ebersberg, Jahresausstellung (K)


Kunstverein Aichach, Ausstellung des 15. Kunstpreises, Aichach

Schauraum,Kultursommer am Ackermannbogen,  München              

Kunstverein Ebersberg, Jahresausstellung, Ebersberg (K)

Dachgalerie DOKU e.V. München


Museum Palast, Grosse Kunstausstellung NRW, Düsseldorf (K),

Kunstverein Ebersberg, Jahresausstellung, Ebersberg (K) 

Dachgalerie, DOKU e.V., München (K)


Kunstverein Ebersberg, Jahresausstellung (K)

Dachgalerie, DOKU e.V. München

Kunstverein Aichach, Ausstellung des 13. Kunstpreises, Aichach


Galerie White Box, Kultfabrik, München

Kunstverein Ebersberg, Jahresausstellung, Ebersberg (K)

Dachgalerie, DOKU e.V. München

Kunstverein Ebersberg, „Simultan“ – Kunst und Schach, Ebersberg (K)

Freimanner Kulturtage, Dachgalerie, München

Kunstverein Aichach, Ausstellung des 12. Kunstpreises, Aichach


Haus der Kunst, Große Kunstausstellung, München (K)

Kunstverein Aichach, Ausstellung des 11. Kunstpreises, Aichach


Wiblinger Ring, Kloster Wiblingen, Ulm


Wiblinger Ring, Monte Cantini Therme, Italien


2023 art KARLSRUHE, mit Galerie Filser & Gräf, München

2022 art KARLSRUHE, mit Galerie Filser & Gräf, München

2020 art KARLSRUHE, mit Galerie Filser & Gräf, München

2020 POSITIONS BERLIN Art Fair, Berlin, mit Galerie Ulf Larsson, Köln

2019 art KARKLSRUHE, Galerie Filser & Gräf, München

2019 Positions Berlin, Galerie Ulf Larsson, Köln

art KARKLSRUHE, Galerie Filser & Gräf, München

Positions Berlin, Galerie Ulf Larsson, Köln

paper positions.munich

art KARLSRUHE, mit Galerie Filser & Gräf, München

art KARLSRUHE, Karlsruhe mit Galerie Filser & Gräf, München und Galerie Ulf Larsson, Köln

Positions, Berlin; Galerie Ulf Larsson, Köln

ART FAIR, Köln; Galerie Ulf Larsson, Köln

Art Bodensee, Dornbirn,mit Galerie Filser & Gräf, München 

art KARLSRUHE, Karlsruhe mit Galerie Filser & Gräf, München 

POSITIONS Berlin, mit Galerie Ulf Larsson

art KARLSRUHE, Karlsruhe mit Galerie Filser & Gräf, München und Galerie Ulf Larsson, Köln

Artfair, Köln mit Galerie Filser&Gräf, München und Galerie Ulf Larsson, Köln

Cologne Paperart, Köln mit Galerie Ulf Larsson, Köln

Kunst Zürich, Zürich mit Galerie Wesner, Konstanz

art KARLSRUHE, Karlsruhe mit Galerie Filser & Gräf, München

und Galerie Ulf Larsson, Köln

KunstZürich, Kunstmesse mit Galerie Wesner, Konstanz

ART.FAIR, Köln, Galerie Filser & Gräf, München 

art KARLSRUHE, Karlsruhe mit Galerie Ulf Larsson, Köln

Cologne Paper Art, Köln mit Galerie Ulf Larsson, Köln

Kunstmesse „Thease art fair“, Köln mit Galerie Filser & Gräf, München

Öffentliche Förderungen und Ankäufe, Sammlungen

Atelierprogramm durch Kulturreferat der LH München

Kunstsammlung HypoVereinsbank – Members of UniCredit 

Kunstsammlung der Volksbank, Offenburg

vers. private Sammlungen


Maria Wallenstål-Schoenberg, Farbmalerei, 2008

Maria Wallenstål-Schoenberg, Färg 1-3, 2012-13

Maria Wallenstål-Schoenberg, about color, 2017, Klinkhardt & Biermann Verlag, ISBN 978-3-943616-52-1

Maria Wallenstål-Schoenberg, Aquarelle, 2020, ISBN978-3-00-065710-8

Maria Wallenstål-Schoenberg, Farbfindungen-Malerei und Drucke, 2018, Kunstraum Detmold, ISBN 978-3-9818088-5-8


“Every picture contains all the pictures that were made before,” says Maria Wallenstål-Schoenberg, because all the previous stages of development, including mistakes and wrong turns, have also been incorporated as experiences into the current clarification process that the three exhibitions document. These previous stages of development still resonate in each of the new pictures: not immediately visible on the surface, but as a subtle quality, like overtones. Perhaps one can literally imagine this relationship as the multiple underlaying of the visible color fields with other, often complementary colors, which is characteristic of Wallenstål-Schoenberg’s paintings. Beneath the powerful, painterly colors of the surface there are always several layers of other colors: a secret, subterranean resonance space that lends depth and radiance to the surface in the first place, while it only comes to light directly at the edges (and makes it somewhat difficult to decide whether or to what extent it is the interference between center and edge, or the refraction of the color surface by the background, that produces such an astonishing effect).

At these edges, however, it is not simply spatially deeper layers that become visible, but rather also temporal layering: the made and evolved nature of the picture, work processes become tangible, just as much as in the clear traces of the spatula with which the oil paints were applied wet on wet. In this highlighting of the facture, the material quality of the painting is simultaneously made visible, or rather: moved into a tilt figure in which we do not really perceive the pictorial space/color space simultaneously, but rather alternately, oscillating, as well as the painting as a material thing. “A picture is a canvas with paint on it,” Alexander Rodchenko stated in 1915, by no means expressing a banality, but rather a disillusioning insight that we often have to remind ourselves of. The realization that the picture, that the picture surface is of a fundamentally dual nature, simultaneously a prosaic, material carrier and, on the other hand, a metaphysical, almost numinous, immaterial place of appearance of an absent person: Aspects of one and the same image, which – once seen – can perhaps still be distinguished, but can no longer be separated.

This is particularly evident in Wallenstål-Schoenberg’s most recent paintings, in which the color fields are no longer placed on a rather conventional, painterly background, but are presented as if floating freely on a canvas that is primed white for purely technical reasons, but is otherwise untreated. By overcoming a traditional understanding of “composition”, in which individual pictorial elements are bound together in a higher order to form an autonomous and closed pictorial whole, the tension between the colors, which is constitutive for Wallenstål-Schoenberg’s paintings, emerges even more clearly.

“Color alone has no relevance,” she says, but only two or more colors together and in relation to each other. Since the picture surface no longer tends to be the scene of an integrating composition as a coherent surface, but merely the (material) place where colors or color forms meet, the colors, both in themselves and in their relations to each other, are emphasized even more than before.

A process of clarification takes place here that seems to exemplify the development of classical modernism and is reminiscent of Greenberg’s dictum that art excludes the superfluous in the course of its further development. For him, the desired purification of art from the superfluous, the merely accidental, lay first and foremost “in the recognition, in the willing acknowledgement of the limits of the medium of the respective art. (…) Every art is unique and only in a strict sense itself because of its medium.” For painting, this meant concentrating on its original and unique aspects of color and flatness. In Maria Wallenstål-Schoenberg’s work, too, painting finds itself. Here, however, paradoxically via the detour outlined above, via the emphasis on the processuality, the texture and the materiality of her picture carrier.

>Peter T. Lenhart<