Tractor Station (MTS) in Volkstedt near Eisleben. In 1955, Müller worked on agricultural themes at the agricultural collective (LPG) in Eismannsdorf. In 1957, he produced tempera works in the Gronau salt and potash shaft in Bernburg. In 1958, he spent a period working in the engineering works in Halle, where he produced an oil painting known as „Der Maschinenformer“ (the engine builder), now owned by the Moritzburg foundation at the Kunstmuseum des Landes Sachsen-Anhalt (State Art Museum of Saxony-Anhalt) in Halle. In 1959, Müller worked at the Karsdorf cement works. His maize triptych, produced in 1962, was refused. The reason for this could be that the dominant depiction of maize in three stages of ripeness – in spring, summer and autumn – did not leave enough room for a depiction of agriculture scenes. In 1964, Müller worked on the Free German Trade Union (FDGB) project “Junge Tierzüchterin” (young farmer) at the agricultural collective in Merbitz. In the 1950s, Müller paid regular visits to the artist couple Herbert Kitzel (1928–1978) und Mareile Kitzel at Talstraße 23 (now a gallery), as well as Hilmar and Heidi Manthey. It was here that he met Otto Möhwald (b. 1933) in 1957. From 1958 to 1959, they worked together on projects between Amendorf and Buna and in Dobis near Wettin or using portrait models in the Möhwalds' apartment. From 1959 to 1966, Müller was a member of the section executive of the VBK Halle. While exercising this function, he initiated visits to fellow artists' studios. From the 1960s onwards, he met regularly with other colleagues to do nude drawings in the Moritzburg. In 1963, he led an educational trip to Prague, together with Karl-Erich Müller and Gerhard Geyer (1907–1989). Later works 1963–1979 On the occasion of his 65th birthday in 1963, Müller was awarded the Art Award of the City of Halle for his lifetime artistic accomplishments and for his tile paintings in the “frohe Zukunft” school. An exhibition of his works was also held to mark this occasion at the State Gallery in Moritzburg, now the State Museum. In the preface to the catalogue, Heinz Schönemann, then the director of the State Gallery, wrote “A pupil himself of Burg Giebichenstein, he could be described as a silent master of the artists of Halle, as so much of their work essentially originated with him. His rich imagination, his thoroughness and his technical knowledge, his eye