Between 1964 and 1975, Lothar Qunte no longer created gouaches, but only serigraphs that sold well all over the world. In 1975 an artistic crisis occurred when Quinte had painted and printed circular motifs, the group of works "Corona", and even had them woven, as the 11x11mm carpet in the Badisches Staatstheater shows. He considered this perfect form to be the perfection of creativity and thus saw a finale from which he could no longer free himself. So he went on a six-month trip around the world to clear his head again. He started again, and unsurprisingly, with gouaches before the first painting succeeded . Now Japanese paper was replaced by the early baker's silk, and the canvas was often plucked in painting. Even more so in the new beginning, a beginning, but he stayed by the structures determined that he had helped shape: his gouaches found an even more intense combination of sound and space. If one compares the early "curtain" gouaches with the new beginnings in 1976 and the last leaves, it is noticeable that they have remained the same, not even the brushes have changed. His painting pays attention to the beginnings of his color field painting, in which the motifs in steles and color spaces were taken up again, but something fundamentally new emerged in which the objectivity of the imagery did not pass Lothar Quinte without a trace. By adding strong colored sounds to his paintings in order to unify them with monochrome color spaces, Lothar Quinte created a programmatic form of sonorous images of the color space between 1977 and 1987, the calm of which develops a tremendous charisma and is still the basic tenor of his work today. This does not mean the end of other pictorial inventions, in which he trickled freely drifting paint in parallel runs from above over the pictures in an almost fictitious spontaneity and, since 1979, has been developing dripping pictures that enable the memory of the gestures of the early days without ever taking up this form of painting. Overall, the swinging and sonorous calm of free painting remained the predominant theme, no matter how much the color tones became isolated since 1981 and were held together by dripping in network images.