BOWIE I  1995 a collaboration with artist Tobias Hermeling is among the series of paintings actually signed by the featured artist.This artwork is from the prescreening period(anything dated before1997).

  ELTON JOHN in vienna 1995

    with LIZA MINNELLI 1989

 ANDREAS REIMANN            starportraits were signed by








ROMY CLASSIC 1999  from the collection Deutsche Telekom



The artist Andreas Reimann specializes in further developments of pop art in tradition of Warhol portraits. His work includes portraits and hommages, dedicated to icons of the 20th century such as ROMY SCHNEIDER and MARLENE DIETRICH.


His technique evolved from classic painting more and more into a mixed media creation with the usage of  silk screening as a major part. However he is far away from doing Warhol copies. Where Warhol counts on statics, Reimann works with dynamics. Warhol goes back to byzantine icon-painting, where the image is the image and nothing else, in contrast, Reimann is at home in the tradition of mannerism, he produces multi-layered works, with refined hidden details, he creates illusion and even reversed sense.


Reimann portrayed some of stars of pop culture in his very own complex way: DAVID BOWIE, ELTON JOHN, TINA TURNER,…all have signed their portraits. Andreas Reimann creates documents of time, monuments of a time that gets faster every day. The turn of the millenium.  If we can state one thing about our global culture then surely that superpop is back. Again, there are people who get hyped as icons and then, there are those who wish to be hyped.  And this kind of pop is even more extensive and with a much broader effect than in the mid 60ies or in the early 80ies, the two heydays of superpop. since then the global culture has reached most parts of the world. As always it is about creating idols and selling them. And there, the art of Andreas Reimann is the perfect medium to integrate this strategy into an artistic context. That the artist himself becomes such an idol is implied.


meeting SARAH BIASINI (daughter of ROMY SCHNEIDER) in vienna at the Romy-awards . sarah signed a golden romy classic,donated to austria´s "LICHT INS DUNKEL" charity .

Andreas Reimann about one of his most famous faces:


“The series “Hommage to Romy Schneider” started with a painting I did in 1992 titled “The Life of Romy Schneider”. It was sold at it’s first exhibition and since then people were constantly asking for it. So I decided to take on the subject and this face, what I call the “ROMY CLASSIC”, never let go of me. There were a lot of discussions about the expression on her face. Is it sad? Filled with pride or arrogance? Does she have a slight smile on her lips...? Her mysterious face has often been compared with the look of Mona Lisa. Over the years I kept on trying to do it better and better. I guess all those different interpretations and productions helped me develop my signature style what is now the usage of many different layers of silkscreening within my mixed media technique. The surface on which I put on my “ROMY CLASSIC”-screening became more and more progressive -dealing with the present while most of the Romys that I did in the mid-ninetees are very personal and emphasize on the tragic parts of her life.She became my “Pop-Icon” simply because of the many interpretations which eventually will go on.”



getting started



Back in 1987 young Andreas Reimann wanted to meet Tina Turner.“I was not a painter of faces at that time,although I did my first big painting of a face of TINA TURNER.
After breaking through alot of barriers she took mypainting up on stage presenting it two her enthusiastic crowd.”

"That´s how I look BEFORE the show"Tina told the crowd ,holding up my painting,and I thought if I come that far with my piece I can be quite good......That was the birth of andreas reimann,a pop artist,Interpretations of famous faces.“I really knew at that moment,this is what I want to do.......


  • MARLENE FROM BERLIN Hommage to Marlene Dietrich  

  • ROMY Hommage to Romy Schneider





VISUAL SEDUCTION portrait 2000

is a player in a particular culture, a culture called entertainment. “let me entertain you” was on
James Cameron’s mind when he made “titanic”. “let me entertain you” shouted Robbie Williams in the same year, the public’s reaction to both being “yes, sure, why not”. titanic and Robbie Williams are part of pop culture, and nobody would complain about shallowness or lack of a “this-makes-me-think-and therefore-i-want-to-know-more-about-it-and    then-write-a-book”-experience.
it is similar to what you are up to with a
Reimann’s pictures are full of symbols. the symbols are not overly complex and by no means meant to be. they stand for what they are, symbols of pop culture, a global culture, a culture you can read and decode no matter where you live, whether in vienna or in munich or in london or in tokyo or in new york. or on the moon. the symbols are mixed together in a refined way, the chosen colours fit perfectly, and then the whole thing gets a name. an almost obscenely matching name.
the outcome is a work of art. a dynamic artwork, elaborated with effortless perfection, timeless as it is exactly in the context of its time. an image which makes the beholder look, watch, gaze, two times, three times, a hundred times, which holds on to him in its complexity and choice of colour, holds on to him like a great pop-song, a perfect hollywood-movie, or a far-outstanding home-page. An image rich in latent symbolism always fresh to the eye, always new to the mind. and then there is the title and the title is cool.
it is not as if
Reimann’s images wouldn’t be open to interpretation. they want to be interpreted and everybody is invited to do so. interpretation is part of the entertainment. part of the fun.
Reimann is involved in his work like every artist, and in a more direct way than most. he is aware of himself being part of the culture he interprets. reimann communicates what he wants to communicate. and what is it that the artist wants to communicate? “let me entertain you” or, even better, “let me seduce you.”

patrick bartos 



MARLENE FROM BERLIN reached it´s climax when used as a stagebackground in the offical 100 birthday celebration of the city of berlin honoring the legendary diva at the FRIEDRICHSTADTPALAST with a musical salute.

"Vienese artist ANDREAS REIMANN´S world of paintings between WARHOL and RAUSCHENBERG but always clear REIMANN,gives room for reflections about the media´s adoption of idols,about their wasteage and their mytical essence"                                

........Die Welt,11.january.2002