One of the main themes of Matthias Weischer’s work is the interior. Almost all his paintings are views of interiors. They show closed interior spaces with neither windows nor doors, sparsely furnished and decorated, and without a person to be seen in any of them. In the art of the past decades the subject of the interior was mainly of importance for installation art, for example, the works of Ilya Kabakov and Gergor Schneider. By linking into the classical painting tradition, Weischer has rediscovered the interior as a theme for painting. The interior shows a private, intimate space clearly closed off from the outside world, from public life in bars and parks. We are all familiar with the desire to look into other people’s rooms, to take part in the private lives of others, to look through the walls of houses. Depictions of Saint Hieronymus’ cell, presentations of the scene of the Annunciation or 17th to 19th century paintings of interiors bear witness to the unbroken force of this curiosity and the wish to participate in other people’s intimate lives, a need which is producing some strange new phenomena in the form of the reality TV show Big Brother, for example. As staged depictions of private home life, interiors provide insight into the specific construction of the private sphere and of private life worlds at various points in history. Furthermore, the interior painting was always a genre for artistic experiment, in which artists tested the limits and possibilities of their painterly means. At a third level, interiors have always been seen as an extension of the inner, spiritual life into exterior space, as a mirror of the inner world and as a psychogram of the individual or of a social group.