Markus Hoffmann-Achenbach - gefallener engel.






Studied art history at Ecole du Louvre and specialised in contemporary art for over 25 years.
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Markus Hoffmann-Achenbach presents gefallener engel, an original acrylic painting with collage on canvas (40 × 40 cm, 2 cm deep) signed with date and title on the back, from 2025, Germany, contemporary mythological work in excellent condition and weighing about 1 kg, sold directly by the artist.
Description from the seller
Artist: Markus Hoffmann-Achenbach
Title: fallen angel. (From the work series Heaven and Hell)
Dimensions: 40 cm x 40 cm x 2 cm
Material: Acrylic, collage on canvas
Signature: With date and title on the reverse
The work series “Heaven and Hell” by Markus Hoffmann-Achenbach is a visual re-negotiation of John Milton’s epochal epic Paradise Lost — not as illustration, but as an existential continuation. While Milton captured the cosmic fall of Lucifer, the loss of Paradise, and the ambivalence of free will in language, Hoffmann-Achenbach translates these questions into a contemporary visual language of extraordinary emotional and symbolic density.
The series consciously moves within the tension between transcendence and corporeality, order and chaos, guilt and insight. Heaven and Hell do not appear as fixed places, but as inner states of the human being — fluid, unstable, tipping into one another at any moment. It is precisely here that Hoffmann-Achenbach begins and makes Milton’s dictum “The mind is its own place, and in itself can make a heaven of hell, a hell of heaven” the guiding image principle.
The works of the series are characterized by layered image spaces: acrylic, collage elements, fragmented figuration, and symbolic signs overlap. Light passages — often in bright, almost heavenly fields of color — stand in radical contrast to dark, eruptive zones. This polarity generates a permanent tension that compels the viewer to not only see the image but to experience it.
This series marks a conceptual peak in Markus Hoffmann-Achenbach’s oeuvre. It combines literary depth, art-historical references, and a unmistakably contemporary visual language. For collectors, the works are particularly attractive, as they work both as strong autonomous pieces individually and as part of the series context to unfold an epic, almost museum-like effect.
“Heaven and Hell” is not a series for casual viewing — but for collectors who perceive art as a spiritual challenge and a long-term investment value.
Artist: Markus Hoffmann-Achenbach
Title: fallen angel. (From the work series Heaven and Hell)
Dimensions: 40 cm x 40 cm x 2 cm
Material: Acrylic, collage on canvas
Signature: With date and title on the reverse
The work series “Heaven and Hell” by Markus Hoffmann-Achenbach is a visual re-negotiation of John Milton’s epochal epic Paradise Lost — not as illustration, but as an existential continuation. While Milton captured the cosmic fall of Lucifer, the loss of Paradise, and the ambivalence of free will in language, Hoffmann-Achenbach translates these questions into a contemporary visual language of extraordinary emotional and symbolic density.
The series consciously moves within the tension between transcendence and corporeality, order and chaos, guilt and insight. Heaven and Hell do not appear as fixed places, but as inner states of the human being — fluid, unstable, tipping into one another at any moment. It is precisely here that Hoffmann-Achenbach begins and makes Milton’s dictum “The mind is its own place, and in itself can make a heaven of hell, a hell of heaven” the guiding image principle.
The works of the series are characterized by layered image spaces: acrylic, collage elements, fragmented figuration, and symbolic signs overlap. Light passages — often in bright, almost heavenly fields of color — stand in radical contrast to dark, eruptive zones. This polarity generates a permanent tension that compels the viewer to not only see the image but to experience it.
This series marks a conceptual peak in Markus Hoffmann-Achenbach’s oeuvre. It combines literary depth, art-historical references, and a unmistakably contemporary visual language. For collectors, the works are particularly attractive, as they work both as strong autonomous pieces individually and as part of the series context to unfold an epic, almost museum-like effect.
“Heaven and Hell” is not a series for casual viewing — but for collectors who perceive art as a spiritual challenge and a long-term investment value.
