Haller’s work of art comprises close to 2000 paintings and drawings.

From his time in Dresden there are basically only those pieces of art left which the Swiss artist Erika Streit took with her into Switzerland in 1943. Other work was burned during the bombing of Dresden or got lost otherwise.

Very rarely does his early art work appear for sale in galleries.

Haller was obsessed with painting and drawing. Even during the very last months of war when he was in Ludwag near Bamberg, after his escape from Dresden, he produced dozens of drawings.

The remainder of his work was created mainly in Kitzingen and at the Castle Weissenstein zu Pommersfelden.

Strictly speaking, Haller never created paintings or drawings for the purpose of selling his work, rather, as he expressed in the appendix for the lease contract with the Duke of Schönborn on 12 May 1972, as examples for and demonstration of his art philosophy. Albeit, it is known that he sold about three dozen paintings during the first years after the war.

Maybe this is why he painted the same theme all over again, mostly figures from the Greek mythology.

That he never painted for monetary benefit explains why he ignored commercial criteria: the dimensions of his paintings did not match international standards, and he always painted to the very edge of the painting ground. When Erika Streit organised an exhibition for Haller in the Swiss city of Zürich she complained that she had to spend a lot of time to make a special frame for each painting, however without that the paintings provided space at the edge for a frame.

The photographic documentation of the art work shown in this website is derived from scans of slides and photo prints from various sources. The original photo documentation has by all means not been done professional at all and show a number of flaws.

In addition, when digitally scanning, some of the slides were irrevocably soiled or the colours were faded and changed. Therefore, some scans had to be modified according to information in the archive. Most of the scans, however, show the art work in the original colours.

Despite of these modifications, the scans reflect with great accuracy Haller’s style and technique.

When looking at Haller’s work, it needs to be considered that Haller painted with only one eye, since he lost the other at age 17. His paintings appear three-dimensional when also seen with only one eye.

Haller favoured the “alla prima” painting technique, the painting “at first attempt” with no means of any corrections.