Mathias Jakob Seib

Multi-facet painter, draftsman, graphic artist, writer, journalist, psychotherapist.
His extensive work shows creative power and deep engagement in the movements of human soul. He was an unadapted individualist whose thoughts and feelings are reflected in paintings which provide space for bizarreness and absurdity of human existence and actions.

At the beginning of his work his paintings were always socially critical, political, with the finger on the sore spot. Not aggressive, rather occasionally tragicomic or with a knowing wink. In later pictures he focuses more on the individual and his endeavor to make ends meet in life.

In recent years Seib's painting were characterized by his personal color theory representing seven levels of human personal and soul development. Each level brings different challenges. In order to grow as humans, we have to go through them. The stages are never completed, but they have a supportive effect once they have been successfully mastered.

This theory culminated in Seib's Legacy cycle of 49 pictures - An Old Man's Dream of a Better World".

Work areas

The focus of his artistic activity is undoubtedly in the visual field. Drawings and paintings are roughly balanced, with a few naturalistic images and portraits. He soon discovered his own direction in realistic representations through form and content.

For Seib painting was coping with life, dealing with crises such as during the Second World War, existential threat or human disappointments. Passing on his knowledge was always important to him - in lectures, panel discussions, private conversations, but mainly in his art. 

Mathias J. Seib was a member of the BBK Darmstadt (Professional association of visual artists in Darmstadt, Germany) for many years, he is also represented in the Darmstadt artist archive.


"There is the finely nuanced, almost pictorial pencil drawing, epigraph-like calligraphic figurines, extremely colorful gouaches in taichistic style with figurative proportions, portraits painted in expressionist ambition, graphic line structures of abstract and figurative elements and finally completely object-free collages made of corrugated cardboard. As different as this may seem at first glance, it is astonishing to note that it is always the unmistakable handwriting and the almost unbearable, oppressive presence of the motif that provokes an inner involvement of the observer. ..."