Georg Meistermann is best known for his glass and wall paintings on sacred and secular buildings. Meistermann's paintings captivate the viewer with their luminous colors. He succeeds in making forms float just by the luminosity of the colors.
With his group of works entitled "Schwingen" Meistermann takes reference to his early works of the 1950s, from which he takes up the theme and the development of floating due to color power. At first, the "Schwingen" are strongly reminiscent of the wings of birds, which then abstract further into parallel floating paths. With his staggering of horizontally mounted, mostly curved, rounded beam forms, Meistermann has succeeded in (finding) pictorial metaphors for floating.
With his monumental murals, such as those in the Maria Regina Martyrum Church in Berlin and St. Alphonsus in Würzburg, as well as with his stained glass windows in the Würzburg Cathedral and the Cologne Basilica of St. Gereon Church, among others, the two-time documenta participant Georg Meistermann has created a modern style of sacred art in which the traditional narrative figurative representations are overcome by a synthesis of non-objective color form fields and implied Christian symbols. With his staircase windows in the building of the West German Broadcasting Corporation and the New City Hall in Cologne, Meistermann realized profoundly object-free surface compositions. In addition, his oil-painting oeuvre, which was created in parallel to the glass and wall paintings and is interrelated, has had a decisive influence on the development of contemporary German art. It is partly thanks to him and his work that Germany was able to reconnect with the international development of art after the Second World War. From 1 9 60 to 1976, Meistermann taught at the Art Academy in Karlsruhe, where his students included Raimund Girke and Gotthard Graubner. Meistermann's artistic development is characterized throughout by the problems of color space and surface tensions. While his early work is still largely expressionist with parallels to Paul Klee, Pablo Picasso and Karl Hofer, since the 1950s he has devoted himself to the primacy of color and
no longer uses representationally legible design elements, but finds a new kind of formal vocabulary. By placing brightly colored bars or strokes as spatial layers one behind the other or on top of each other, he creates new kinds of spatial references. What is peculiar, however, is that despite the abstracting dissolution of form, his paintings nevertheless allow associations with the real world. Because of the large-scale, diffusely luminous, almost floating color fields characteristic of his paintings, with their strong meditative radiance and contemplative effect, Georg Meistermann is often mentioned in the same breath as Marc Rothko.