Georg Glaser was born in 1950, in the German city of Frankenthal, in Rhineland-Palatinate.
He registers in 1971 in the Academy of Arts (Staatliche Kunstakademie) of Düsseldorf, where he follows the sculpture teaching of Josef Beuys.
His love of travelling leads him to discover the Mediterranean perimeter: Europe (Spain, Portugal, Greece), Africa (Morocco), Asia (Syria, Turkey, Iraq).

Change of direction in 1973: a dispute with the Ministry of Culture forces Josef Beuys to resign his position at the Academy, leaving his pupils in disarray. Georg Glaser then decides to change the course of his life, and moves to Berlin to study ethnology and archaeology, disciplines which had stimulated him on his travels. He participates in numerous archaeological excavations and ethnological studies in Turkey, in Latin America, in Rome, ...
This training will have a deep influence on the pictorial themes and motives in the future work of Georg Glaser.

A new turn in 1980: he meets his future wife, the daughter of an artist from Liege. The family settles in Liege. In 1982 Georg Glaser registers for one year in the Academy of Arts of Liege and follows the classes of F. Beunckens.
His academic training is now finished.



From the beginning of his artistic career, Georg Glaser concentrates on sociological issues: relations between the dominant and the dominated, between North and South, difficulties of modern life, craving for success and for recognition, hollowness of some of our social conventions, our relations to the environment, etc. His painting is therefore a social criticism, which often uses a multitude of symbols, but this criticism is also quite often stamped with humour.
After all, Georg Glaser feels a huge tenderness for his fellow men, whose defects and contradictions he likes to expose.

In the first years, Georg Glaser adopts a rather conventional figuration (modelled forms, perspective, ...), but already supported by strong colour contrasts, a more and more nervous drawing, and close-ups and perspectives accentuating the expressiveness of work. The paintings scrolling on this page are good examples of this.

From the mid-eighties to the beginning of the nineties, Georg Glaser revives his interest in archaeology and ethnography, and turns to a painting which has been said to be more abstract, inspired by rock painting, graffiti, traditional motives of non-European civilizations, for example in 'Hoggar' in 1987. But even in his most abstract moments, he does not abandon a certain form of figuration: spindly silhouettes or shadowgraphs, various objects represented in a very schematic manner. It is rather about a blow up of the composition and simplification of the drawing.

This so-called "abstract" period leads to his current style. The composition gains clarity again, and the false simplicity of the drawing allows him to efficiently translate a complex sociological questioning on the canvas.