DOI Heft:
No. 70 (January 1899)
DOI Artikel:Singer, Hans Wolfgang: Modern german lithography, [1]: Greiner and some Dresden artists
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19230#0297
Modern Lithography in Germany
ling, and then again the strange preference for
disproportionately long-drawn bodies.
Besides The Judgment ofParis and The Hercules
of the Cross-ways, mentioned above, we must rate
a Train of Bacchantes and an Antique Dance of a
Man and Two Women among Greiner's more im-
portant productions. The latter is wonderfully
drawn, and if it may be deemed a little deficient
in style because of its over-modelling and its over-
elaboration, it nevertheless does not forsake the
legitimate course of line-work.
The best of all Greiner's productions is perhaps
the Diploma for Excellency in Shooting, which is
reproduced on page 261. It was ordered by
the colonel of the regiment in which the artist
served his military year, and replaced the caligraphic
horror that had been used before upon such occa-
sions. This is surely splendid draughtsmanship
and excellent style. All light effects have been
simplified and broadened. There is none of that
excessive detail in the elaboration of half-tone
which so often makes graphic works appear like
photogravures.
Marianne Fiedler was one of the first of the
younger generation to practise lithography in
Dresden. Her work consists mostly of pen-drawn
portraits, the technical qualities of which are,
generally speaking, the same as those of Greiner,
but, of course, her manner of drawing is more
feminine, her touch gentler. All her work is very
serious and there is no sign of dilettantism about
it. She displays at times a very happy imagination
in the ornamental borders in which her portraits are
enclosed. A portrait of herself, represented as a
singing Bacchante, is one of her most charming
productions. She has not rested satisfied with the
simple pen-drawing technique, for from the very
beginning she evinced a longing for colour and
attempted surface technique. She has not always
been successful in attaining her ends, however,
and has sometimes found it necessary to finish a
lithograph by hand with crayons or water-colours.
A short while ago she drew a landscape representing
a sheet of water hedged in by trees. By making
use of toned paper and by printing in two colours
(black and bluish-green), a remarkably picturesque
effect was produced.
While still a student at the Academy, Otto
Fischer attracted attention by his lithographic
poster for a students' exhibition. Although open
to criticism in many points it was at any rate the
first poster drawn here by an artist and naturally
differed from the usual trade work. A little later
he lithographed a second exhibition poster, Die
Alte Stadt, which made his name known beyond
the boundaries of his native country. It was a
specimen of true colour-lithography : one stone left
out would have rendered the design unintelligible.
Having achieved some reputation by these per-
formances Fischer was called upon to lithograph
several other posters, all of which did him credit.
Apart from posters, his first lithograph was a
ling, and then again the strange preference for
disproportionately long-drawn bodies.
Besides The Judgment ofParis and The Hercules
of the Cross-ways, mentioned above, we must rate
a Train of Bacchantes and an Antique Dance of a
Man and Two Women among Greiner's more im-
portant productions. The latter is wonderfully
drawn, and if it may be deemed a little deficient
in style because of its over-modelling and its over-
elaboration, it nevertheless does not forsake the
legitimate course of line-work.
The best of all Greiner's productions is perhaps
the Diploma for Excellency in Shooting, which is
reproduced on page 261. It was ordered by
the colonel of the regiment in which the artist
served his military year, and replaced the caligraphic
horror that had been used before upon such occa-
sions. This is surely splendid draughtsmanship
and excellent style. All light effects have been
simplified and broadened. There is none of that
excessive detail in the elaboration of half-tone
which so often makes graphic works appear like
photogravures.
Marianne Fiedler was one of the first of the
younger generation to practise lithography in
Dresden. Her work consists mostly of pen-drawn
portraits, the technical qualities of which are,
generally speaking, the same as those of Greiner,
but, of course, her manner of drawing is more
feminine, her touch gentler. All her work is very
serious and there is no sign of dilettantism about
it. She displays at times a very happy imagination
in the ornamental borders in which her portraits are
enclosed. A portrait of herself, represented as a
singing Bacchante, is one of her most charming
productions. She has not rested satisfied with the
simple pen-drawing technique, for from the very
beginning she evinced a longing for colour and
attempted surface technique. She has not always
been successful in attaining her ends, however,
and has sometimes found it necessary to finish a
lithograph by hand with crayons or water-colours.
A short while ago she drew a landscape representing
a sheet of water hedged in by trees. By making
use of toned paper and by printing in two colours
(black and bluish-green), a remarkably picturesque
effect was produced.
While still a student at the Academy, Otto
Fischer attracted attention by his lithographic
poster for a students' exhibition. Although open
to criticism in many points it was at any rate the
first poster drawn here by an artist and naturally
differed from the usual trade work. A little later
he lithographed a second exhibition poster, Die
Alte Stadt, which made his name known beyond
the boundaries of his native country. It was a
specimen of true colour-lithography : one stone left
out would have rendered the design unintelligible.
Having achieved some reputation by these per-
formances Fischer was called upon to lithograph
several other posters, all of which did him credit.
Apart from posters, his first lithograph was a