After he had made sculptures of closely intertwined horsemen in the mid 1950s, Koenig's wish to depict animal herds became manifest. In 1956 the artist visited the Camargue, the same years his first plastics of the same name came into existence. By means of a rhythmical arrangement of the contrasting uniform animal bodies, he forms an impressively holistic work. The artist was so much fascinated by the topic of the herd of cattle with horsemen, that he created ever new and bigger variants of the group. This type of "Mass Sculpture" would become characteristic of Koenig' creation, "which was likewise esteemed by both critiques and the audience. The different variations of the [..] 'Camargue' help to understand how this extreme attention to detail can be tamed so that the overall result is far more than the sum of its components." (Peter Anselm Riedl, introduction, in: Clarenbach, p. 11).