It is the later so-called veil pictures that brought Lothar Quinte international success. Especially between 1961 and 1962 there were color field sounds that brought him to the forefront of avant-garde painting. Perhaps Rainer, Gircke and Graubner were still painting in the west of the republic in Germany at that time. Lothar Quinte thus became a sought-after artist who found the right representative through Galerie Müller in Stuttgart to place his art in important German and international exhibitions. Since 1963 he has been describing his color fields with symbolic frames and geometric designs, which later became somewhat comparable to the early Frank Stella as window pictures in their minimalizing tendency of American painting. There is continuity only in the larger historical sections, but not in the finding of the visual worlds, this corresponded to Lothar Quintes' way of working up to the end. The developments were volatile, were checked, repeated, discarded and looked for in experiments until a basis for a new development was found. This approach was important for Quintes understanding of himself, but not always easy for the chronology of a catalog raisonné, since the logic does not follow the time but the person. Painting changed rapidly in the sixties with the integration of color contrasts, especially between light and dark consonants, to create more contrasting colors in the image field, whereby Lothar Quintes found brushwork from free, individualistic gestures to the use of stable acrylic and fixed rulers and their lens definitions . From the window picture to the slit picture, to the folded picture and fan picture, the path leads from the horizontal and vertical of the classic golden section proportions to the circular picture of the seventies.