Immobility and silence with beauty for incantation. The still in the front as primary object, included in a Florentinian villa-garden with the Tuscan landscape in the background. For man as a figure there is no room in the painting. That would create expectations disturbing the balance. Would this be Paradise before the Fall of Sin, before the first human being? No, for the gardener that controlled the outgrowths is the painter himself. It is he who acts as a protagonist in his own Arcadia. To himself he creates a world that keeps him far from everyday madness and hectic. A world corresponding with the desire for perfect harmony and ultimate beauty as a consequence to a romantic life-awareness of an irenical personality. How revealing silence can be.
Above all Victor Muller was inspired bij Giovanni Bellini (c. 1430 – 1516), the best painter ever according to Albrecht Dürer (1471 – 1528). And also by painters like Johannes Vermeer (1632 – 1675), Henri Fantin-Latour (1836 – 1904), Vilhelm Hammershoi (1864 – 1916) and many more. All of them with the same artistic end in view: the absolute harmony. But he was also stricken by the imaginary world of Dutch fantastic or magic realists like Carel Willink (1900 – 1983), Pyke Koch (1901 – 1991), Raoul Hynckes (1893 – 1973), Dick Ket (1902 – 1940) and Jan Mankes (1889 – 1920). With Thinking a grave, a tribute to Arnold Böcklin (1827 – 1901) he testifies of his admiration for his artistic professional practice and his paintings titled Styx refer unequivocally to this Swiss artist. Nevertheless, his oeuvre bears a genuine own signature. He is a fine painter who does not hesitate to make sgrafitto-ish structures using the backside of his brush. There is also a tendency towards stylisation until abstraction.