DOI issue:
No. 70 (January 1899)
DOI article:Singer, Hans Wolfgang: Modern german lithography, [1]: Greiner and some Dresden artists
DOI Page / Citation link:https://doi.org/10.11588/diglit.19230#0302
Modern Lithography in Germany
ences were wanting, while some very dismal ones thing himself, without a hint from anybody. The
were very forcibly thrust upon him. It seems new methods have been exhausted long ago.
that gradually he must have grown embittered Readers of Senefelder's book will find that he left
towards the world in general, for it came natural very little for later people to try, and that this little
to him to take no consideration whatever for has been tried by Engelmann, Hullmandel, and
the public's taste. As to subject, he generally others within the first half of our century. Again, if
manages to introduce some socialist or anarchist Liihrig had gone to an experienced hand for infor-
idea. As to treatment, he enjoys a brutal realism, mation he would at least have been told what not
not for its own sake so much as because it is un- to attempt. As it was he wasted much time in
palatable to the public. Thus if there are certain experimenting, and spent weeks in testing the
ways of presenting a nude in a picture that people qualities of different colours by themselves and in
take objection to, those are the ways he will adopt, juxtaposition, in trying the effect of blank paper in
Whatever he does, however, is full of his per- the middle of a design, and so on. The result
sonality : he is in it with his whole heart. There was that he wasted much money and labour and
is no satirical vein in him. What he considers as added little to his store of knowledge. He has
prejudice, as inartistic, or in bad taste, he condemns now, unfortunately, left for Roumania, where he
straight out; he does not jeer at it. has to give up lithography for awhile.
As a lithographer, Liihrig stood in the way of Including the failures, Liihrig has produced some
his own progress by starting out to discover un- fifty-eight plates or more. There are about twenty
heard of new methods and by trying to do every- landscapes, among them several nice studies from
the birchwood grove near
_ Dresden. He has also done
two life-size heads, the por-
traits of his wife and of a
■^HHUHP* ' Jfc*.: schoolmaster in Dresden.
There is a grand simplicity
about them, and the simple
colour scheme (they are
each printed from three
stones) is singularly effect-
ive. His most important
lithographic work is a series
of twenty-five plates under
the title Lazarus. They
- •■' are not illustrations to the
biblical parable, although
one of the plates, repre-
senting the agonies of the
rich man in hell, bears
v&NmKKHKfKm ' IP upon it. The artist shows
n. ......lern povert) in
' various forms. An alle-
gorical design shows us
man born, not with fairies
standing at his cradle, but
Want and Misery waiting
to fall upon him as he
grows older.
From the point of
view of poster production
Dresden ranks first among
German cities that have
taken part in the revival
the park " , from a lithograph by otto Fischer of lithography. The Ger-
270
ences were wanting, while some very dismal ones thing himself, without a hint from anybody. The
were very forcibly thrust upon him. It seems new methods have been exhausted long ago.
that gradually he must have grown embittered Readers of Senefelder's book will find that he left
towards the world in general, for it came natural very little for later people to try, and that this little
to him to take no consideration whatever for has been tried by Engelmann, Hullmandel, and
the public's taste. As to subject, he generally others within the first half of our century. Again, if
manages to introduce some socialist or anarchist Liihrig had gone to an experienced hand for infor-
idea. As to treatment, he enjoys a brutal realism, mation he would at least have been told what not
not for its own sake so much as because it is un- to attempt. As it was he wasted much time in
palatable to the public. Thus if there are certain experimenting, and spent weeks in testing the
ways of presenting a nude in a picture that people qualities of different colours by themselves and in
take objection to, those are the ways he will adopt, juxtaposition, in trying the effect of blank paper in
Whatever he does, however, is full of his per- the middle of a design, and so on. The result
sonality : he is in it with his whole heart. There was that he wasted much money and labour and
is no satirical vein in him. What he considers as added little to his store of knowledge. He has
prejudice, as inartistic, or in bad taste, he condemns now, unfortunately, left for Roumania, where he
straight out; he does not jeer at it. has to give up lithography for awhile.
As a lithographer, Liihrig stood in the way of Including the failures, Liihrig has produced some
his own progress by starting out to discover un- fifty-eight plates or more. There are about twenty
heard of new methods and by trying to do every- landscapes, among them several nice studies from
the birchwood grove near
_ Dresden. He has also done
two life-size heads, the por-
traits of his wife and of a
■^HHUHP* ' Jfc*.: schoolmaster in Dresden.
There is a grand simplicity
about them, and the simple
colour scheme (they are
each printed from three
stones) is singularly effect-
ive. His most important
lithographic work is a series
of twenty-five plates under
the title Lazarus. They
- •■' are not illustrations to the
biblical parable, although
one of the plates, repre-
senting the agonies of the
rich man in hell, bears
v&NmKKHKfKm ' IP upon it. The artist shows
n. ......lern povert) in
' various forms. An alle-
gorical design shows us
man born, not with fairies
standing at his cradle, but
Want and Misery waiting
to fall upon him as he
grows older.
From the point of
view of poster production
Dresden ranks first among
German cities that have
taken part in the revival
the park " , from a lithograph by otto Fischer of lithography. The Ger-
270