Each painting depicts, as its central topic, literally and figuratively, an everyday tin can of the non-existent brand, Canto.

The series was inspired by the painter's annoyance at the scorn and arrogance with which realistic art, for many years, had been labeled old-fashioned and dusty.

He remarked: "that even the most trivial object from so-called known reality could hold enough artistic potential to occupy an entire painter’s life", and Møhlmann put his money where his mouth is.

[2] He opted for a tin can of which the naked, smooth, curved metal gave its own unique reflection of reality.

[3] The limitations that the painter has imposed on himself result not only in a series of 124 paintings, but also in a sequence with cinematic aspects.

Canto 6 (1982) already bears witness to this in a subtle manner because a small piece of the label has unnoticeably disappeared.

Diederik Kraaijpoel writes: "Within the main series there are many sub-series which usually contain an optical peculiarity so that the viewer constantly wonders: "What do I actually see?

In a series of successive works, a glass jar is filled with more and more water so that the image changes all the time; in another sub-series we see the can falling one meter; or flowers that wither, or, simply the can during different parts of the day.

There are comments on Beuys, Mondriaan or Vermeer, or he makes his version of art historical subjects such as ‘the anatomical lesson’ or ‘the breakfast’ and ‘anamorphosis’.

The titles of all the Canto's are listed in a separate chapter because they often give slightly ironic indications as to how one could look at the painting.

The sharpness, humour, but also the craftsmanship and originality, make this work quite unique in contemporary art history.

[6][7] 1995 1996 1996 1997-1999 2003 2008 1997 Publication of book Het Cantoproject 1982-1993 by Publisher Van Soeren & Co in Amsterdam, with an introduction by J. Jacobs.