The second limitation Ehrismann places on himself is his color choice - the entire palette is not for him. He chooses harmony like a key - the tone in which he will work. His cinnabar contains quicksilver, his Kremser white contains lead and cobalt means cobalt. He must mix these with new colors, but working with genuine materials fills him with a peace that only good craftsmanship can bring. Everything is ready, the artist sits in front of his window and looks - outside and inside, into himself.
Lines travel over the panes, shapes pull themselves together.
Slowly the window becomes whole, becomes an artwork. Female torsos - seductive in the old tradition, a silhouetted head, a vague profile show the possible connections. Rooms open onto the depths, movements fill out and become forms, a fine graphic structure trembles like a feather, a blue body, tactilly shadowed, pulls from the upper edge of the picture to the lower left corner. The painter overlaps, over-paints and creates a new order. The development has come full circle - window and canvas are one.