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Studio: international art — 30.1904

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http://digi.ub.uni-heidelberg.de/diglit/studio1904/0322
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German Coloured Lithographs

RECENT GERMAN LITHO- necessitated the drawing of from three to five

GRAPHS IN COLOURS. BY stones. Both of these artists remain true to their

PROFESSOR HANS W. SINGER, former inclinations, and do landscapes only. Volk-
mann selects his subjects from the Rhine and the

A little over three years ago The Studio Eifel. He likes to picture wide expanses of open

gave an account of the condition of litho- country, where he can balance a few simple tones

graphy in Germany. At that time the most and surfaces against a quiet sky, brightening the

noteworthy feature was the appearance of the picture up by a single tree or a house here and

Karlsruhe School, which devoted its attention there. Such lithographs are his Arable Lajid,

particularly towards the production of fascinating Brook between Melds, Autumn in the Eifel,

lithographs in colours. Three of the principal Landscape with Mountain-ash tree, The Rhine

artists have in the meantime left Karlsruhe, at Bingen, and Wayside Chapei on the Eifel.

Of these, Count Kalkreuth and Carlos Grethe have Without copying Nature slavishly, he modifies

gone to Stuttgart. Grethe's spirited dozen or fifteen her only very little, whereas Kampmann's newest

colour-lithographs, principally of shipping subjects, work shows him using the nature-subject merely

were not only captivating at the time of their as a substructure for his colour fancies. He is

appearance, but have been steadily growing upon influenced more or less by the glorious brilliancy

us ever since. The third man, Kallmorgen, has of Bocklin's brush.

settled at Berlin. In spite of such serious losses Hein has added a number of beautiful litho-

the Karlsruhe School flourishes as before, and still graphs to his list of those sympathetic productions

embraces enough of first-rate talent to ensure the that embody the spirit of fairyland as no other

maintenance of its high standing in the field of German work of to-day succeeds in doing. Heyne

lithography. Volkmann and Kampmann have has turned from abstruse subjects and produced

increased the number of their productions to over such truly excellent prints as the Silent Castle.

fifty each, which is considerable when one remem- Otto Fikentscher has increased his animal

bers that painting in oils is their principal branch of subjects by the addition of Croivs on the

work, and that every one of these fifty plates has Snow, Buzzard and Snake, and other splendid

"OXEN PLOUGHING" ' BY HEINRICH OTTO

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