A packed gallery opening in Güstrow recently revealed surprising new facets of Günter Naumann, the beloved East German actor best known for playing the sun-tanned 'Chief' who steered the GDR's dream ship through the socialist Caribbean in the popular TV family series 'Zur See.' The exhibition demonstrates that Naumann, one of East Germany's most popular actors who later gained recognition throughout unified Germany as Commissioner Beck in the crime series 'Polizeiruf 110,' possessed remarkable artistic talents as an accomplished painter.
Naumann's daughter Sabine, herself a successful graphic artist and illustrator, has dedicated the exhibition 'From Studio to Spotlight' to her father in honor of what would have been his 100th birthday. Living and working with sculptor Günter Kaden in their studio in Wendischhagen near Malchin, Sabine Naumann has carefully curated a comprehensive collection showcasing her father's diverse artistic output. The exhibition features cityscapes, portraits, sketches, posters, and photographs from the versatile actor's life, including early academic drawings that are both highly detailed and remarkably vibrant.
Among the highlights are masterful still-life compositions and exceptional architectural sketches that capture essential elements with loose, confident strokes while maintaining perfect compositional balance. During the crowded vernissage, Sabine Naumann delivered a laudatory speech about her father, revealing intimate details about the 'Chief's' creative process. She shared how he maintained a travel diary filled with quick sketches even during filming for the beloved series 'Zur See' in Cuba, explaining that 'my father drew extensively and observed everything with keen awareness.'
Sabine revealed that her father carried his sketchbook everywhere, even drawing between theater performances during international tours. The exhibition showcases his evident enjoyment in illustrating program booklets for theaters where he performed, demonstrating his connections with renowned GDR graphic artists and illustrators including Manfred Bofinger and Volker Pfüller. These collaborative works highlight the interconnected nature of East Germany's artistic community during that era.
Naumann's distinctive facial features—strong cheekbones and penetrating gaze—were frequently seen on film screens and theater stages throughout his career. He portrayed memorable characters at prestigious venues including the world-famous Berliner Ensemble and the Deutsches Theater Berlin, performing alongside renowned actors Armin Mueller-Stahl and Manfred Krug. These same striking features appear prominently in one of his most compelling works: a self-portrait in oil on canvas that radiates confidence and artistic self-awareness.
According to his daughter, small incidents sometimes determine life's direction, as occurred with her father's career path. Günter Naumann might have become a painter instead of an actor, but a brief question from professors at the Dresden Art Academy changed everything. When asked 'Are you in the FDJ?'—referring to East Germany's youth organization—immediate enrollment without entrance examinations would have followed an affirmative answer. However, Naumann, recently released from English prisoner-of-war captivity, was unfamiliar with the organization.
World War II had already thwarted the trained concrete construction worker's initial dream of studying architecture. During his imprisonment in England, however, he had devoted significant time to painting studies. After the failed Dresden admission, the skilled concrete worker returned to construction, eventually working on rebuilding the destroyed Chemnitz Opera House, where he first experienced the theatrical atmosphere that would define his future career.
Despite his acting success, Naumann never abandoned his passion for visual arts. He actively taught his children what he called 'the school of seeing,' instructing Sabine to 'paint with your eyes, even when you don't have materials with you.' Father and daughter continued their artistic bond throughout his life, often sketching together in the picturesque landscape of the Malchin Basin, creating shared memories through their collaborative artistic explorations.
Gallery owner Martina Fregin admitted her surprise at discovering this quieter, contemplative side of the performer, confessing 'I always associated Günter Naumann with the series Zur See.' She expressed gratitude for this enriching new perspective on the multifaceted artist, noting how the exhibition reveals the depth and breadth of his creative abilities beyond his well-known screen persona.
The exhibition continues through November 22 in Güstrow, offering visitors an intimate glimpse into the private artistic world of one of East Germany's most beloved entertainment figures. The show provides a unique opportunity to appreciate Naumann's dual legacy as both a celebrated performer and accomplished visual artist, demonstrating how creative talents often transcend traditional boundaries between different artistic mediums.
