Sonntagskind and loads of other das maltratierte kind paintings usually convey their message by the scars on faces(our primordial medium of expression).
For Helnwein, the artist under the Nazi regime is the abused child (he later developped the idea and made the Art In America series). So, Angels Sleeping starts with a self portrait full of pain, a reckless critique of freedom of expression.
Ok, I would love to, but I'm not going to guide you through all the paintings in the exhibition. Just look at this before I get to the point. What do you see?
The child (this time depicted as the traditional innocent child) is about to be tortured by some scarfaced nazi-like (look at the over confident expression in their faces) burocrats. One can see that maybe once these people gathered around the altar were as innocent as her. Our scars are transitive.
The viewers of the exhibiton were astonished by the sheer size and the amazing detail of one of the untitled paintings. It is about a large mass of people gathered in front of a monument that resembles the Reichstag.
Now let's look at the lower left corner of the painting so you can see the details, regret the fact that you missed an exhibition, and maybe see the lead that Helnwein left us to link this painting to his other masterpieces.
Our clue is 2 brushstrokes that remind us this is not reality, it is just a beautifully crafted masterpiece. A masterpiece crafted by an intelligent man who can not settle with creating something beautiful but tries to tell something new with it. Look closer:
And finally, if you change the angle you see the painting, where the 2 brushstrokes end, you will find a secret painted on all of the faces, a white stain that doesn't only brighten their brows, but connects this painting with all the das maltratierte kind paintings: it is their scars. The scars that they hide, but who gather them all in front of the building and gives the oppressors the power they need to diffuse the oppression.