DOI Heft:
Nr. 78 (Septembre 1899)
DOI Artikel:Singer, Hans Wolfgang: Modern german lithography: Hamburg, Düsseldorf and Fankfort-on-the-Main
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19232#0267
Modern German Lithography
“ BOY WITH COW
FROM A LITHOGRAPH BY JULIUS VON EIIREN
the,exhibition in which the “new men ” were repre-
sented for the first time as a body, was a litho-
graphed design by Arthur lilies. It was a very
innocent performance—half-length of a man, nude,
palette in hand, standing in a landscape before a
canvas at which he is working. Yet this simple
black crayon lithograph raised fierce opposition, pro-
bably in consequence of the high party feeling then
rampant. The next year’s poster, by Ernst Eitner
—the bust of a woman, printed in two strongly
contrasting colours, orange and violet—does not
to-day strike us as in any way “ aggravatingly
modern.” Yet the opposition was worse than
before, the conservatives got the upper hand, and
the poster had to be withdrawn from circulation
after it was printed. Since then, however, I believe
the director and his party have become masters of
the situation. In 1897 these young Hamburg
artists published a portfolio of eight lithogiaphs,
containing some of their best work, a notice of
which appeared in the columns of The Studio.
Besides his poster, lilies lithographed one of
his own paintings called The Watersfirite. The
original painting, with its blues and greens, is inten-
tionally made to appear somewhat ghastly; the
lithograph aims at the same effect but with less
success. It is apparently mostly scraped. In the
Harbour of Hamburg the artist makes use of a
peculiar coarse grain and waterlines, but it is diffi-
cult to understand why he should have considered
it necessary to add this feature, for the picture was
sufficiently good of itself and needed no tricks to
make it interesting. This Harbour of Hamburg was
contained in the Lithographic Portfolio of 1897.
Eitner’s contribution, a view of the Alster stream
near Wellingsbiittel, is in some points like it. Eitner
lithographed a seascape, a wide expanse of water
with a small boat in the distance, that has a good,
hazy, Turner-like effect. It seems to have been done
on paper with an artificial grain, and reminds one
of the greyish tone of some of Whistler’s litho-
graphs. He attempted the same thing again in the
print called On the Elbe, in which we look from
under the thick foliage of trees out upon the white
“ BOY WITH COW
FROM A LITHOGRAPH BY JULIUS VON EIIREN
the,exhibition in which the “new men ” were repre-
sented for the first time as a body, was a litho-
graphed design by Arthur lilies. It was a very
innocent performance—half-length of a man, nude,
palette in hand, standing in a landscape before a
canvas at which he is working. Yet this simple
black crayon lithograph raised fierce opposition, pro-
bably in consequence of the high party feeling then
rampant. The next year’s poster, by Ernst Eitner
—the bust of a woman, printed in two strongly
contrasting colours, orange and violet—does not
to-day strike us as in any way “ aggravatingly
modern.” Yet the opposition was worse than
before, the conservatives got the upper hand, and
the poster had to be withdrawn from circulation
after it was printed. Since then, however, I believe
the director and his party have become masters of
the situation. In 1897 these young Hamburg
artists published a portfolio of eight lithogiaphs,
containing some of their best work, a notice of
which appeared in the columns of The Studio.
Besides his poster, lilies lithographed one of
his own paintings called The Watersfirite. The
original painting, with its blues and greens, is inten-
tionally made to appear somewhat ghastly; the
lithograph aims at the same effect but with less
success. It is apparently mostly scraped. In the
Harbour of Hamburg the artist makes use of a
peculiar coarse grain and waterlines, but it is diffi-
cult to understand why he should have considered
it necessary to add this feature, for the picture was
sufficiently good of itself and needed no tricks to
make it interesting. This Harbour of Hamburg was
contained in the Lithographic Portfolio of 1897.
Eitner’s contribution, a view of the Alster stream
near Wellingsbiittel, is in some points like it. Eitner
lithographed a seascape, a wide expanse of water
with a small boat in the distance, that has a good,
hazy, Turner-like effect. It seems to have been done
on paper with an artificial grain, and reminds one
of the greyish tone of some of Whistler’s litho-
graphs. He attempted the same thing again in the
print called On the Elbe, in which we look from
under the thick foliage of trees out upon the white