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#0278
Modern German Lithography
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He then took to printing these touches of
colour, using from two to four stones. His fine
artistic tact has always hindered him from be-
coming vulgarly imitative and naturalistic in his
colours. He displays an extraordinary taste for
decorative combinations of colours and the
simplicity entailed by the process, while the wide
scope it leaves for the display of individualism
greatly endears it to him. Some of the most
splendid lithographs produced in this manner and
at this time (1892-5) are The Flight into Egypt,
The Triton, and On the Banks of the Nidda, The
Fairy-story Teller, S. Florian, The Nymph of the
Spring, a portrait of himself, Landscape in the
Taunus, and St. Anton near Parthenkirchen.
This, which one may call his second period, is,
I consider, his best. The third shows to my mind
a decline, let us hope only a temporary one. It
commences when he takes to algraphy, that is,
drawing on aluminium instead of stone. The
greater facility has turned out to be a danger as it
always does, and it cannot be denied that Thoma
now produces too much and at times careless
work. This substitute, aluminium, seems to me a
very unfortunate choice for one who works in
colours. It appears that algraphy employs dif-
ferent inks from lithography. They have no body
and are disagreeably meagre. The coloured
algraphs all look as if they had been printed
with writing fluids instead of printer’s ink, and it
is to be hoped that Thoma
will soon put up with the
greater inconvenience and
take to stone again.
Thoma is now in his
sixty-first year, but he is
always ranked among the
“ younger men.” Next
October he enters upon a
new venture, for he is going
to Karlsruhe as Professor
at the Academy vice Kalc-
kreuth, who has been called
to Stuttgart. This shows
the unbroken spirit of youth,
in spite of his grey hairs.
His lithographic “ oeuvre ”
comprise 107 plates, besides
the frame ornaments — a
good round number to have
been produced by a painter
in the course of only six
years. Not all are of the
first quality, but at the very
least a dozen will be re-
membered as long as there
is any trace of this present
revival of the art of litho-
graphy left in the world.
We have to thank Messrs.
Bismeyer & Kraus of Dtis-
seldorf and Mr. Commeter
of Hamburg for the kind
loan of a large number of
lithographs here discussed,
from among which the illus-
trations accompanying the
above article were selected.
m
Lie
n
“THE CASTLE’
FROM A LITHOGRAPH IN COLOURS BY F. VON WILLF.
244
idfe®#r#
W %«bocdet vcr
r 5«4^,,k»
fit Rlo«J=erfc'u'1w
(fttmkhfitMilfy)
mmk
ibertwamL
He then took to printing these touches of
colour, using from two to four stones. His fine
artistic tact has always hindered him from be-
coming vulgarly imitative and naturalistic in his
colours. He displays an extraordinary taste for
decorative combinations of colours and the
simplicity entailed by the process, while the wide
scope it leaves for the display of individualism
greatly endears it to him. Some of the most
splendid lithographs produced in this manner and
at this time (1892-5) are The Flight into Egypt,
The Triton, and On the Banks of the Nidda, The
Fairy-story Teller, S. Florian, The Nymph of the
Spring, a portrait of himself, Landscape in the
Taunus, and St. Anton near Parthenkirchen.
This, which one may call his second period, is,
I consider, his best. The third shows to my mind
a decline, let us hope only a temporary one. It
commences when he takes to algraphy, that is,
drawing on aluminium instead of stone. The
greater facility has turned out to be a danger as it
always does, and it cannot be denied that Thoma
now produces too much and at times careless
work. This substitute, aluminium, seems to me a
very unfortunate choice for one who works in
colours. It appears that algraphy employs dif-
ferent inks from lithography. They have no body
and are disagreeably meagre. The coloured
algraphs all look as if they had been printed
with writing fluids instead of printer’s ink, and it
is to be hoped that Thoma
will soon put up with the
greater inconvenience and
take to stone again.
Thoma is now in his
sixty-first year, but he is
always ranked among the
“ younger men.” Next
October he enters upon a
new venture, for he is going
to Karlsruhe as Professor
at the Academy vice Kalc-
kreuth, who has been called
to Stuttgart. This shows
the unbroken spirit of youth,
in spite of his grey hairs.
His lithographic “ oeuvre ”
comprise 107 plates, besides
the frame ornaments — a
good round number to have
been produced by a painter
in the course of only six
years. Not all are of the
first quality, but at the very
least a dozen will be re-
membered as long as there
is any trace of this present
revival of the art of litho-
graphy left in the world.
We have to thank Messrs.
Bismeyer & Kraus of Dtis-
seldorf and Mr. Commeter
of Hamburg for the kind
loan of a large number of
lithographs here discussed,
from among which the illus-
trations accompanying the
above article were selected.
m
Lie
n
“THE CASTLE’
FROM A LITHOGRAPH IN COLOURS BY F. VON WILLF.
244