After completing his studies with Joseph Beuys in 1972, Peter Angermann decisively turned away from conceptual art. He returned to an objective painting, which is characterized by its intense colors and great lightness. At the same time, Angermann remains unadapted and devoted to an anti-avant-garde and non-literary understanding of art that originated in the period after his studies. From the 1960s onwards, together with fellow artist he developed his own special visual language. Angermann's independent understanding of style and content cannot be attributed to any previous or contemporary art movement, but it does show tendencies towards neo-expressionism. In the 1960s artists turned away from the popular non-objective, abstract art through this art style.  The freedom in Angermann's works and the impossibility of any categorization have enabled the artist to open up impressive worlds of images without regard to norms or general sense of style. This would not have been possible to achieve without his independence and is one of the inimitableness of Angermann’s oeuvre. Angermann uses seemingly simple, infantile or even tawdry image content to address socio-critical topics without having to use common, mostly shocking forms of expression. Thereby he creates opposites and discusses these topics with the necessary distance and certainly with a unique humor as well. In 1986, Angermann discovered plein air painting, outdoor painting, a genre that was frowned upon at the time. In his idyllic landscape paintings created en plein air, Angermann transports the pure joy of nature in stylized motifs and heightened colors. In his works the artist manages to elicit joy and thoughtfulness at the same time. The combination of his two main subjects - thematic works and idyllic landscapes - makes Angermann’s oeuvre unique nowadays.