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#0273
Modern German Lithography
two or more plates, and his Castle are very effec-
tive, especially the latter, although only a red and
an olive-grey stone were employed in addition to the
black outline drawing. The scroll for the lettering
appears to much better advantage in the original
than in the reduced reproduction, but the type
selected should have been more decorative.
A. Frenz has drawn several strong designs in a
style altogether decorative and not naturalistic,
and he adapts his low-toned colour scheme to it.
At times his work recalls the good draughtsman-
ship of the old Renaissance woodcuts and their
energetic outline. A Csesaric head, Morning,, and
Adam and Eve after the Fall, are among Frenz’s
best productions.
Eugen Kampfs landscapes are good, but in
no way superior to anything that has been done
many a time before. Arthur Ivampf is perhaps a
little more modern in spirit. His subjects, Bathing
Women, Eemi?iiscences of Andalusia, and Emi-
grants, are rather more realistic, his treatment
more removed from the “pretty-pretty” than the
Diisseldorf code allows. He has latterly even
stepped over to the newest of the new, the Neo-
Idealists, and produced such designs as The Bad
Conscience and The Deluge. But regarding them
THE WATER SPRITE
240
FROM A LITHOGRAPH BY A. MOHRBUTTER
purely from the lithogiaphic side they have nothing
in common with the recent
work that has sprung up
elsewhere : they still tread on
the old beaten lithographic
paths.
There is, however, one
black sheep in the fold, and
that is Heinrich Otto. By
rights he belongs to Karls-
ruhe, and one can’t under-
stand how he happened to
turn up at Diisseldorf. I
do not hesitate in pronounc-
ing his Evening i?i the Eifel
one of the cleverest bits of
colour printing known. Two
field labourers are going
homeward with their team
of oxen by the side of a
small stream. The sun has
set, but the sky reflects a
glaring light. By the use of
coloured paper, two tone-
plates and the outline stone,
a marvellously strong effect
is attained. The Ploughman
is very similar, Here we
have a pen-and-ink contour
FROM A I.ITHOGRArjI BY A, ILLIES
two or more plates, and his Castle are very effec-
tive, especially the latter, although only a red and
an olive-grey stone were employed in addition to the
black outline drawing. The scroll for the lettering
appears to much better advantage in the original
than in the reduced reproduction, but the type
selected should have been more decorative.
A. Frenz has drawn several strong designs in a
style altogether decorative and not naturalistic,
and he adapts his low-toned colour scheme to it.
At times his work recalls the good draughtsman-
ship of the old Renaissance woodcuts and their
energetic outline. A Csesaric head, Morning,, and
Adam and Eve after the Fall, are among Frenz’s
best productions.
Eugen Kampfs landscapes are good, but in
no way superior to anything that has been done
many a time before. Arthur Ivampf is perhaps a
little more modern in spirit. His subjects, Bathing
Women, Eemi?iiscences of Andalusia, and Emi-
grants, are rather more realistic, his treatment
more removed from the “pretty-pretty” than the
Diisseldorf code allows. He has latterly even
stepped over to the newest of the new, the Neo-
Idealists, and produced such designs as The Bad
Conscience and The Deluge. But regarding them
THE WATER SPRITE
240
FROM A LITHOGRAPH BY A. MOHRBUTTER
purely from the lithogiaphic side they have nothing
in common with the recent
work that has sprung up
elsewhere : they still tread on
the old beaten lithographic
paths.
There is, however, one
black sheep in the fold, and
that is Heinrich Otto. By
rights he belongs to Karls-
ruhe, and one can’t under-
stand how he happened to
turn up at Diisseldorf. I
do not hesitate in pronounc-
ing his Evening i?i the Eifel
one of the cleverest bits of
colour printing known. Two
field labourers are going
homeward with their team
of oxen by the side of a
small stream. The sun has
set, but the sky reflects a
glaring light. By the use of
coloured paper, two tone-
plates and the outline stone,
a marvellously strong effect
is attained. The Ploughman
is very similar, Here we
have a pen-and-ink contour
FROM A I.ITHOGRArjI BY A, ILLIES