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One of the earliest list of woodcuts by Dürer was assembled in 1808 by Adam Bartsch in his "Le Peintre Graveur" volume 7 [1] and in the appendix. In 1862 Johann David Passavant expanded "Le Peintre Graveur" [2] adding additional woodcuts. Bartsch and Passavant works, which were organized alphabetically, are the source of "B." and "P." numbers ...
At the end of the war he became a member of the Arbeitsrat für Kunst in Berlin, which was an anti-academic, socialist movement of German artists during the German Revolution of 1918–19. Schmidt-Rottluff’s angular, contrasting style became more colorful and looser in the early 1920s, and by the mid-1920s he began to evolve into flat shapes ...
Scherer became seriously ill in autumn 1926 and died in Basel 13 May 1927. The artist was commemorated that year by an exhibition at the Kunsthalle Basel, which displayed over 200 of his works. The Dreiländermuseum in Lörrach holds 118 of Scherer’s works, including many woodcuts and the "Portrait of Otto Staiger". [4]
The post-Venetian woodcuts show Dürer's development of chiaroscuro modelling effects, [24] creating a mid-tone throughout the print to which the highlights and shadows can be contrasted. Other works from this period include the thirty-seven Little Passion woodcuts, published in 1511, and a set of fifteen small engravings on the same theme in 1512.
The Miserere (1916–1927) is one of the most original and creative series of prints of the 20th century, in which the artist combined different techniques: the drawing was transferred to copper plates by means of heliogravure, on which Rouault worked with acid and etching tools, achieving unique tones and values in the history of printmaking. [6]
Käthe Kollwitz (German pronunciation: [kɛːtə kɔlvɪt͡s] born as Schmidt; 8 July 1867 – 22 April 1945) [3] was a German artist who worked with painting, printmaking (including etching, lithography and woodcuts) and sculpture.
Franz Moritz Wilhelm Marc (8 February 1880 – 4 March 1916) [1] was a German painter and printmaker, one of the key figures of German Expressionism.He was a founding member of Der Blaue Reiter (The Blue Rider), a journal whose name later became synonymous with the circle of artists collaborating in it.