drawing technique to Ludwig Richter’s (1803 – 1884) portrait of his son Heinrich (1830 – 1890). They are both done with a sharp and hard pencil, a technique that was, according to Ludwig Richter, typical for Geman draughtsmen at the time. The large-scale drawing by Franz Krammer (1798 – 1834) depicts bizarre figures in a sort of ‚magic wood’ and is likewise an example for the ‚art of the line’. Equal attention to detail was given in about 1835 by Heinrich G. Crola (1804 – 1879) to his extended alpine scenery with clouds in movement, whereas Heinrich Basedow’s (1865 – 1930) oil sketch was executed with a wide brush - both works display a sense of coloristic finesse.
Three very different, large-sized 20th Century drawings provide a lively contrast. Conrad Böse (1852 – 1938) in his forceful portrait of a peasant woman developes further Menzel’s realism, whereas Max Pfeiffer-Quandt seems to dwell somewhere between Surrealism and Neuer Sachlichkeit (‚New Realism’) with his vision of a primeval landscape. Karl Hartung’s (1908 – 1967) abstract and web-like line composition is, on the other hand, connected to the aforementioned figurative works only by its harmonious, well balanced composition.

For larger illustrations and descriptions of the work examples please click on the miniatures

Johann Wilhelm Krafft
m. o.: Heinrich Georg Crola

Adrian Ludwig Richter
m. u.: Heinrich Basedow

Johann Georg Wagner

Karl Hartung

o.: Max Pfeiffer-Quandt
l.: Emanuele Costa
u.: Conrad Böse
r.: Franz Krammer (Detail)