Thomas Schütte (born 1953 in Oldenburg, lives in Düsseldorf) emerged as an artist in the 1980s with architectural models that took up the theme of the artist’s social position and the conditions against which he had to produce and present his works. Since the 1990s he has modeled ceramics and produced over-life-sized female sculptures out of steel, bronze or aluminum and voluminous Große Geister like large ghostly effigies. In these sculptures, Schütte takes the traditional pictorial vocabulary of the human figure in art as the starting point for his three-dimensional formulation, but calls it ironically in question. Since the beginning of his works on paper with water color, ink or colored and graphite pencil, he has dedicated himself to a specific theme in which his personal comments are mixed with biting humor, critical thoughts, observations and discernment. Deprinotes (2006–2008), the works on paper presented in this publication, are the analytical result of his partly ironic, partly playful struggle with his subjective disposition over the past two years, in which he confronts such themes as meeting, loss, sorrow, angst and love, arranged diary-like in notes without subjecting himself to the danger of prescribing solutions.