Alfred Kubin and Sascha Schneider are two visionary artists forerunners of the most important artistic movements of the twentieth century. Their dreamlike sensitivity is full of amazing poetic symbolism. By Kubin’s silent nightmares (whose life was full of trauma and extreme family experiences) that define the figurative horizons like nowhere's symbolist master, to Schneider’s sensual masculine physicality, a forerunner of contemporary marginalization of the "different" (homosexuals, artists, political dissidents, etc.)
Both were sons of Max Klinger, German master from raw and silent symbolist sensitivity, often dotted with superhuman entities. Kubin and Schneider process in germ, a pre-surrealist poetry purely Teutonic (they are still far from coming, the semiotic-poetic automatism of the surrealist painting of Masson or Dali), where the domain of the Mediterranean color's sudden surreality is absent. In Kubin’s poetry, metaphysical nightmare attendance already containing meta-policy insights, was darkly predictive of human and social events that would result in the two world wars and in Nazism. You can see certain figurative solutions, in which the living masses are pushed to the brink of the abyss or into the mouth of a cannibal giant, in an atmosphere of soft light, full of death. A kind of Savinio timelessness, gently monochrome. In Kubin's work we can find a poetic meta-historical judgment on the failure of the mass policies and the enigmatic research of painful sense of being born and living in all its forms, through the celebration of an incredibly imaginative genius.
In Schneider's, however, a hope for social liberation from oppression, through the exaltation of the male body's beauty, at times, provided of wings, to fly high in the dream and escape the incomprehensible human persecution. The naked body, her beauty archetype, becomes ground of poetical and uncontrollable existential confrontation, as the creative talent of a grand master contrasts to his time.