1960-1966   

Figurative paintings created with partially symbolic and encrypted content. Ross, rider, bullfighter (moderation), figures, nudes, portraits.

1966-1970

Works "on a new chemistry." Abstract images. Colour will be white, and who’s basic outlines treatment. It is important where to be hot, and where to be rough. Only is it corrected with white, i.e. the spots are getting smaller, until a picture with coloured appearance and composition to be developed. The expansion of the colour, single colour also is exalted. Each colour is directly related, even to the processed microcosm.

1970-1978

Figural motifs with cosmic space. Square and cubes are important. Reviews in the lightest shades. - Rooms with glass-like figures emerge. Cycle square images with clay colour. The encounter in 1976 with New York influenced the design. Size and dimensions of man and space are changing. Vision of a new dimension: Total momentum of the colour space without loss, the synthesis of light and darkness, and the colourful painting.

1979-1989

Expressive increase of colour and light-dark contrasts. Large Sizes and triptychs become an important role. The World Show will take place in formats up to six meters expression. Very bright, partly with extremely white areas treated images, as well as dark, night with coloured radiance arise.

1990-2004

After the trip to Mexico in 1989 is still life in mind. Peter Baer is working increasingly in uncoloured –ground canvas. This creates a cycle with the title "canvas as a colour”, and an eagle cycle.

2005-

Even more extreme attention to the white space with cosmic effect as large as possible. For local large format, building-up- colour up to 3 cm or more: 1. Intensification of colour and space 2. Increase of dynamics 3. Increase in the expression

Portrait

Peter Baer’s thought about portrait: "I think the portrait painting is the most difficult. In centuries traditional way is difficult to paint a contemporary portrait. It is not enough just to paint exterior. Something of the person’s character must be felt. If I had to paint a natural person, I have to analyse the model and I open myself to him. Then follows the so-called "Correct." It is to modify colours to express well the character of the model.  This process can sometimes last over years. Painting from a photo is indeed possible, but I can only guess the aura and the person’s character. Therefore, it is necessary for me to have a confrontation with the person whom I want to paint. "