It’s tempting to describe Dagmar Cyrulla as an old-fashioned painter, not just because she is a narrative painter of domestic scenes but because, for her, painting is a vocation, not just a career. And with vocation comes the discipline of the studio. For Cyrulla this means a seven-day week, starting at 8.30 a.m. with a short break for lunch before returning to the studio and pushing on until 8.30 or 9.00 at night.
With vocation comes a lot of emotional investment. In Cyrulla’s case this is amplified by the emotional tension of her domestic scenarios, often depicting men and women—although the
