As an indefatigable researcher and collector, Baumeister also owned examples of African sculpture, in which he, as in the case of the prehistorical artifacts, saw universal images for life, development, and human existence. Correspondingly, their formal language entered Baumeister’s work in the early 1940s—highly abstracted, at first chromatically restrained (African Tale, 1942), and with time, became increasingly colorful and in part very complex in their formal design (Owambo 1944–1948). Both the titles and formal language reveal Baumeister’s preoccupation with other old (Latin American) cultures (Peruvian Wall, 1946, and Aztec Couple, 1948).
In this way, Baumeister single-mindedly and successfully developed a very personal and impressive visual language that was and still is unique in the German art immediately after 1945. The national and international recognition that Willi Baumeister received in the postwar period was correspondingly high. But his artistic development did not stop there. On the one hand, he developed his painting further in a virtuosic manner and, what is more, combined the variety of his formation phases in many other pictures—in part into "overalls structures" that nonetheless still possessed a fundamental that was reminiscent of landscape imageries (Blue Movement, 1950). On the other hand, Baumeister also produced densely packed abstractions that, proceeding from a central form, characterized him as an outstanding "nonrepresentationalist." These paintings became quite possibly the most famous of his works, and were immediately associated by a broad public with Baumeister (e.g. ARU 2, 1955). Even so, Baumeister did not limit himself to this late "trademark." Multiform and multicoloured pictures emerged as well in the year of his death.Wikipeia