A little more architecture and painting
(...) Controlled sadness. Altrock handles his trade well, as if painting were his main profession. His pictural universe is full of frozen shapes, melancholic and of a mathematically organised yet serene nostalgia. He has codified and personalised his interiors and his dwelling to such an extent that they can only be found in his own world. A moving experience.
(Kölner Stadtanzeiger, June 8, 1967, Horst Richter).
(...) Altrock, with both his woodworking apprenticeship and his architectural qualifications in hand, is also verbose in his works. His main subject is concerned with looking behind the façade and revealing archetypes. Human, it's only human... His works contain a certain agressivity which is moderated by their irony and an attendant and permanent sadness. Altrock creates a highly personal poetic language which is unusually fascinating for the visitor.
(Karlsruhe Zeitung, April 20, 1972, R.R.)
(...) The common denominator found in all his works is a cleverly orchestrated construction and a perfectly organised layout, along with the complementarity of solidly colour scheme.
(Nordwest Zeitung, October 14, 1963, J. Weichardt).
(...) Altrock associates his minute gift of observation with acute feeling for form (this reveals the architect in him) and the painter's profound sensitivity for colour. Rarely does one meet an architect-painter like Hartmut von Altrock who slides so easily from one category to the other.
(General Anzeiger Bonn, October 27, 1970, Reinhard Fuchs).