Steinbrenner works his material, wood and stone, from the outside in. Through his admiration for Lehmbruck, Steinbrenner finds his organically grown abstraction. He consistently developed it further into an ever more strongly formulated reduction. In 1960, Steinbrenner uses geometric, cubic forms to bring his pictorial formal language on a very independent artistic path. Before the sculptor goes to work on the block of wood or stone with axe or chisel, he makes sketches in pencil or pen and models in cast stone. The special effect is based on the fact that the parts, which are coordinated in their proportions, are related to an overall whole. His artistic intention, following the classical ideal of antiquity, focuses on conveying harmony. Steinbrenner ponders the forms of his figurations in such a way that they fit together harmoniously as a closed whole from the individual geometric parts.