Although he works as a painter in the realistic tradition, specialized in still life painting, he does not belong to any particular school of thought or movement.
Rather, he sees himself primarily as an independent realist painter.
His work is characterized by the everyday nature of his subject matter, executed with great precision and a virtuoso expression of surface matter.
In the field of still life painting he has contributed to (sometimes literally), new visual compository angles and a fresh, different approach.
With this he has blown new life into the old-fashioned image of still life painting.

Diederik Kraaijpoel, artist and advocate of figurative art, wrote: "His work is painted with a dissecting knife. (....)
The object is disassembled and reconstructed.
This is not merely about observing, but also seeking to understand what the world is made of.
Therefore the objects are immersed in an immense feeling of intensity.
It is as if the objects are charged with meaning, something they do not possess of themselves.
Therein, and not only in the stories, lies the ‘magical’."

Rob Møhlmann is a self-taught painter.
He has developed himself autonomously in terms of technique and style, but also conceptually.
Therefore, it is hard to detect any external influences in his work.
Diederik Kraaijpoel wrote about Møhlmann’s painting: "We are reminded of the Flemish Primitives (...)."
One of the most famous Flemish Primitives, Jan van Eyck, appears in Møhlmann’s work as early as 1984 on a painted cube to which legs are attached thus transforming it into a table.
Top right, in the "fourth plane" of The Cube, part of the painting Man with the Red Turban, is to be seen.
This was presumably a self-portrait of Jan van Eyck.

Møhlmann has a number of things in common with Van Eyck, such as the fascination for reflections, an in-depth observation of details and an exquisite expression of the paint surface.
Detailed reflections, as can be seen in the mirror in the background of Van Eyck’s ‘Portrait of Giovanni Arnolfini and his wife’ (1434), are also common in Møhlmann’s work.
An example of this is the reflection in the Christmas ball in the painting ‘Holland’ (1985) where we can see the painter at work behind his easel as well as the window (with curtain) through which light enters.

In the speech Møhlmann gave in 2017 after receiving his royal decoration, he referred to the "loneliness" of the painter.
In particular he mentioned Dick Ket, who, in the course of his short life, increasingly withdrew from public life.
In his paintings Ket progressively focused solely on a few objects found around his house.
These he rendered in razor-sharp still life paintings, working from a completely innovative "bird’s-eye view".
With this he is a forerunner of Møhlmann, who takes this perspective even further by arriving at the so-called "falcon-perspective" observed perpendicularly from above.
This resulted in Møhlmann creating a series of paintings called ‘Top-down paintings’.

As well as an unusual perspective, Møhlmann and Dick Ket share an intensity of depiction, giving the still life objects a magical aura.
Yet, with Møhlmann this cannot be called magical realism, because there is no other or higher reality present, let alone a hallucinatory or dreamlike world.
Here reality is "exclusively" represented, although, due to the intensity of the paintings, we are able to perceive much more than everyday reality.
Over time Møhlmann developed new ideas which resulted in a number of longer and shorter series, such as the 'Canto collection', the 'Balance series', the 'Framed series' and the 'Top-down paintings'.
Rob Møhlmann could therefore be classified as a "conceptual realist".

Next to his work as a painter, he also became a staunch advocate of realism and figuration.
Completely against the spirit of the times, he defended figurative art in word and deed.
From 1998 onward he continued this crusade by starting his own museum with yearly exhibitions and publications.
In its 20 year existence, Museum Møhlmann has become a nationally recognized platform for
Although he works as a painter in the realistic tradition, specialized in still life painting, he does not belong to any particular school of thought or movement. Rather, he sees himself primarily as an independent realist painter. His work is characterized by the everyday nature of his subject matter, executed with great precision and a virtuoso expression of surface matter. In the field of still life painting he has contributed to (sometimes literally), new visual compository angles and a fresh, different approach. With this he has blown new life into the old-fashioned image of still life painting.
Diederik Kraaijpoel, artist and advocate of figurative art, wrote: "His work is painted with a dissecting knife. (....) The object is disassembled and reconstructed. This is not merely about observing, but also seeking to understand what the world is made of. Therefore the objects are immersed in an immense feeling of intensity. It is as if the objects are charged with meaning, something they do not possess of themselves. Therein, and not only in the stories, lies the ‘magical’."
Rob Møhlmann is a self-taught painter. He has developed himself autonomously in terms of technique and style, but also conceptually. Therefore, it is hard to detect any external influences in his work. Diederik Kraaijpoel wrote about Møhlmann’s painting: "We are reminded of the Flemish Primitives (...)." One of the most famous Flemish Primitives, Jan van Eyck, appears in Møhlmann’s work as early as 1984 on a painted cube to which legs are attached thus transforming it into a table. Top right, in the "fourth plane" of The Cube, part of the painting Man with the Red Turban, is to be seen. This was presumably a self-portrait of Jan van Eyck.
Møhlmann has a number of things in common with Van Eyck, such as the fascination for reflections, an in-depth observation of details and an exquisite expression of the paint surface. Detailed reflections, as can be seen in the mirror in the background of Van Eyck’s ‘Portrait of Giovanni Arnolfini and his wife’ (1434), are also common in Møhlmann’s work. An example of this is the reflection in the Christmas ball in the painting ‘Holland’ (1985) where we can see the painter at work behind his easel as well as the window (with curtain) through which light enters.
In the speech Møhlmann gave in 2017 after receiving his royal decoration, he referred to the "loneliness" of the painter. In particular he mentioned Dick Ket, who, in the course of his short life, increasingly withdrew from public life. In his paintings Ket progressively focused solely on a few objects found around his house. These he rendered in razor-sharp still life paintings, working from a completely innovative "bird’s-eye view". With this he is a forerunner of Møhlmann, who takes this perspective even further by arriving at the so-called "falcon-perspective" observed perpendicularly from above. This resulted in Møhlmann creating a series of paintings called ‘Top-down paintings’.
As well as an unusual perspective, Møhlmann and Dick Ket share an intensity of depiction, giving the still life objects a magical aura. Yet, with Møhlmann this cannot be called magical realism, because there is no other or higher reality present, let alone a hallucinatory or dreamlike world. Here reality is "exclusively" represented, although, due to the intensity of the paintings, we are able to perceive much more than everyday reality. Over time Møhlmann developed new ideas which resulted in a number of longer and shorter series, such as the 'Canto collection', the 'Balance series', the 'Framed series' and the 'Top-down paintings'. Rob Møhlmann could therefore be classified as a "conceptual realist".
Next to his work as a painter, he also became a staunch advocate of realism and figuration. Completely against the spirit of the times, he defended figurative art in word and deed. From 1998 onward he continued this crusade by starting his own museum with yearly exhibitions and publications. In its 20 year existence, Museum Møhlmann has become a nationally recognized platform for 
Rob Møhlmann