In his typical abstract-concrete scenario towards the end of the seventies, he finally also depicts his fellow humans and their manifestations in culture and everyday life, as strikingly demonstrated in the “Römische Blätter” (The Roman Pages) of 1979. Likewise, he now integrates motifs and figures of his immediate surroundings, like music, art and humanities. He thus became involved in myths and other forms of world culture; amongst them are Suebian great minds like Schiller, Schubart or Herzog Carl Eugen, who represent the struggle for freedom, democracy and humanism. To the Ludwigsburg resident-of choice these examples come natural and are by no means disregardable. The landscapes in his mind form the familiar, even beloved background of a cultural region questioned by contemporary history.

In the works of his later years Wesner increasingly employs scalpel and sandpaper attacking the surface of his pictures to make to be felt the beauty of ideal painting taking turns with skeptic deconstruction. Violation, sorrow and vanitas are thus finding their authentic representation.