DOI issue:
Nr. 78 (Septembre 1899)
DOI article:Singer, Hans Wolfgang: Modern german lithography: Hamburg, Düsseldorf and Fankfort-on-the-Main
DOI Page / Citation link:https://doi.org/10.11588/diglit.19232#0272
Modern German Lithography
“ HAMBURG DOCKYARD
FROM A LITHOGRAPH IN COLOURS BY P. KAYSER
sphere. Kayser has also done a very large litho-
graph in colours of the Hamburg docks. It is
intended to serve as an instructive illustration, and
to be hung in schoolrooms like some of Henri
Riviere’s colour prints. It was printed from about
six stones, and published by Commeter. Besides
Kayser, Alfred Mohrbutter seems to have been the
only one who has attempted colour-lithography.
There are by him a fair number of monotone
lithographs, the study of a girl’s head printed from
an outline crayon, and several tone-stones, and the
poster for a Crefeld Exhibition. This shows a girl,
brush in hand, ready to decorate vases, and is
printed in four colours.
Mohrbutter and Eitner have devoted more time
to lithography than the other Hamburg artists of
the younger set, but even their works are far from
being numerous.
According to several accounts, the best Senefelder
Centenary Exhibition was held at Diisseldorf. A
strange occurrence this, for by a freak of fortune
the centenary fell upon a time when practice and
interest for the art of drawing upon stone had sud-
denly been rejuvenated in many art centres—but
not at Diisseldorf. It has been for some time a
rather stagnant place. There are some few able
individual artists there, who are more or less in
touch with modern feeling; the majority, however,
are members of the “ Malkasten,” famous in days
of yore, when it belonged to the artist to arrange
costume festivals, and walk about in a velvet jacket
and romantic cap. Most of the members cling to
their old faith, eschew modernity, and would not
think of attempting lithography. Perhaps they
consider it an inferior practice. Moreover, the
victories achieved in lithography by the younger
artists elsewhere are enough to ruin its chances at
Diisseldorf.
A few men have tried it casually, and though
there is no modern “ lithographic movement ”
at Diisseldorf, their work must not be passed
by unheeded in our notice of German litho-
graphers. Professor Jernberg has done some
good large landscapes. The effect is that of a
broadly handled, rapid Indian-ink sketch. A
muddy wet country road and a creek in bleak
November are capital.
F, von Wille’s romantic landscapes, printed from
239
“ HAMBURG DOCKYARD
FROM A LITHOGRAPH IN COLOURS BY P. KAYSER
sphere. Kayser has also done a very large litho-
graph in colours of the Hamburg docks. It is
intended to serve as an instructive illustration, and
to be hung in schoolrooms like some of Henri
Riviere’s colour prints. It was printed from about
six stones, and published by Commeter. Besides
Kayser, Alfred Mohrbutter seems to have been the
only one who has attempted colour-lithography.
There are by him a fair number of monotone
lithographs, the study of a girl’s head printed from
an outline crayon, and several tone-stones, and the
poster for a Crefeld Exhibition. This shows a girl,
brush in hand, ready to decorate vases, and is
printed in four colours.
Mohrbutter and Eitner have devoted more time
to lithography than the other Hamburg artists of
the younger set, but even their works are far from
being numerous.
According to several accounts, the best Senefelder
Centenary Exhibition was held at Diisseldorf. A
strange occurrence this, for by a freak of fortune
the centenary fell upon a time when practice and
interest for the art of drawing upon stone had sud-
denly been rejuvenated in many art centres—but
not at Diisseldorf. It has been for some time a
rather stagnant place. There are some few able
individual artists there, who are more or less in
touch with modern feeling; the majority, however,
are members of the “ Malkasten,” famous in days
of yore, when it belonged to the artist to arrange
costume festivals, and walk about in a velvet jacket
and romantic cap. Most of the members cling to
their old faith, eschew modernity, and would not
think of attempting lithography. Perhaps they
consider it an inferior practice. Moreover, the
victories achieved in lithography by the younger
artists elsewhere are enough to ruin its chances at
Diisseldorf.
A few men have tried it casually, and though
there is no modern “ lithographic movement ”
at Diisseldorf, their work must not be passed
by unheeded in our notice of German litho-
graphers. Professor Jernberg has done some
good large landscapes. The effect is that of a
broadly handled, rapid Indian-ink sketch. A
muddy wet country road and a creek in bleak
November are capital.
F, von Wille’s romantic landscapes, printed from
239