Jakob Bräckle is a constant in southwest German art. Like no other, he knows how to use economical painterly means to capture the tranquil country life, away from the big city, in small-format oil paintings. His miniatures from his early years in the 1920s and 1930s focus on seemingly insignificant themes from the immediate surroundings, such as the Upper Swabian landscape, village scenes and the everyday work of farmers, which remained a central motif until the 1940s. The pictures captivate through the dignified, clear composition as well as the atmospheric capture of the different times of day and seasons. The fact that the sections of his works shown are captured from a slightly lower perspective is a special feature of Bräckle's painting. Due to his walking disability, he could not stand for long and had to sit down to paint.
In the 1940s, Bräckle became acquainted with works by Kasimir Malevich through the architect Hugo Häring, who stored them in Biberach. Thereafter, Bräckle, who had previously painted mainly in small format, attempted to combine landscape representations with concrete painting on a larger scale. According to Günther Wirth, he succeeded, especially in his late works, in the reduction to two almost monochrome color surfaces "an extreme of simplicity". The sky, often covered by clouds or broken up by sunbeams, which contrasts with the animatedly depicted fields and meadows, exudes a poetic sublimity in combination with the wide horizon. Indeed, the actual goal of Bräckle's art has been to make the eternal of nature tangible for his subject.