In Vielerlei (1949), Otto Nebel created a luminous composition of almost fifty floating forms that seem to move within a transparent atmosphere. He abandoned his earlier drawing based structure and allowed the forms to arise directly from layers of watercolor, casein, resin, and oil pigments. Against a pale reddish ground that shifts gently toward gray, blue and yellow elements rise in vertical rhythm while softer tones of red, brown, and gray weave through the space in fluid balance. A radiant yellow red form in the lower right seems to emanate warmth, balanced by a dark blue vortex above. Through this refined interplay of tone and rhythm, Nebel achieved a serene unity of color and movement, transforming many distinct voices into one calm and luminous harmony.

Detailed description by Otto Nebel (1949):

Primed with cellulose glue, zinc white, and chalk. The ground was tanned (hardened) to prepare for later treatment with watercolors. Rich paint layers were built up using bound opaque watercolors, casein paints, resin-oil colors, and damar resin washes between layers, finished with a fine veil of pointillist dots over the entire surface. This time the drawing-based construction was replaced by a gradual emergence of the individual forms directly through color application with the brush. (Opaque, bound watercolors.) The arrangement of forms is listed in my catalog on page 38. Character of the painting: The ground is airy and spacious, appearing at first as a very light reddish white tone that becomes slightly grayish toward the center, forming a dotted veil-like surface. Within this luminous atmosphere unfolds a wondrous and unique structure of meaning made up of nearly fifty free forms in open order. With the exception of five square shapes, all have completely different outlines, gestures, and sizes. Despite their diversity, they are connected by an inner law of composition: blue, yellow, and their mixtures of green and blue-green emphasize the vertical energy of the composition, while gray, brown, and red in more fluid, swinging movement fill the accompanying forms and create counterbalance. A background form of great spread, glowing yellow-red and of large pictorial dignity, floats vertically in the lower right area and radiates warmth from its inner luminosity. In contrast, the blue vortex in the upper right corner acts as the darkest point of emphasis in the whole swirling configuration. The green tonalities tend strongly toward light yellow hues, while the blue-greens show a clear affinity for the blues. The painting’s delicate charm lies in its enveloping veil of color and space, almost imperceptible yet powerfully present. It is a work of truly graceful restraint, and because of that, it possesses complete harmony.