In analogy to the dream I have somebody else may understand the painting even better than I just because the painting will tell me something that I cannot recognize consciously at the time. The painting like the dream catches the observer (dreamer) at his very existence, where he cannot hide, pretend something else, shut himself off - at best deny, split off and repress.

Therefore there is nothing to „understand" in the sense that the work has to affect directly as a painting. Especially no literary access exists. Through all the knowledge I can get an approach to the paiting, but the painting itself has its own fascination and impact, which increases through the knowledge - the more I know the deeper the impact.

Of course that is true for all great art - in this sense art history and science is at best a way to open up a work of art. The more is known and can be said, the more can be seen, the deeper the work can take effect - if only the words do not block the access. Art is about seeing, that which can be experienced by seeing.

An art historian told about the altar: „That is without doubt a closed work, all sides are correct, the sequence of the sides is consistent, it is obviously important and meaningful, but my knowledge of iconography does not help to understand that work. Somebody should make his doctorate about this." (Dr. Vomm, director of the museum Berg. Gladbach). Maybe that person would get to know something. After all, 20 years after Beckmann’s death Friedhelm Wilhelm Fischer could get substantial insight into his work.