Julius von Bismarck's intervention is also an attack on nature. The path to the picture is partly a destructive one, for the methods of his image creation avenge his exertions through an invasive intervention in the subject, which is henceforth irreversibly marked. When he himself speaks of a simplification of a landscape by means of colouring and dividing it into black and white areas in order to make the complexity of a construction of nature more comprehensible, and of media that have their share in this kind of simplification of nature, then he is following a traditional approach, however, with means that are beyond simplicity but instead demand total commitment.
With his fourth Landscape Painting, Julius von Bismarck does not find a fundamental answer to the enquiries of a contemporary perspective on nature. He deconstructs classical themes and aesthetics of art history and exposes contradictions in the discourse on nature conducted in art with the means of imitation, falsification and irritation. In the end, the question remains: How do we see nature today?