The
Prints of Helmuth Saloman
At the turn of the century, German artists developed expressionism,
a style emphasizing subjective emotions and responses to the external
world, in reaction against French impressionism and postimpressionism.
As in the Gothic tradition, the immediacy and boldness of the woodcut
made it a perfect medium. One group of Dresden-based artists was
called Die Brücke ("The Bridge"), which consisted
of Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, Erich Heckel (1883-1970),
and Otto Mueller (1874-1930). Their styles varied from striking
contrasts of sections of roughly gouged wood, in Schmidt-Rottluff's
cartoon like prints and Heckel's harsh portraits, to Mueller's lyrical
composition of female figures.
In Munich another group, Der Blaue Reiter ("The Blue Rider"),
emerged, led by the Russian-born Wassily Kandinsky. Together with
the Swiss artist Paul Klee, Der Blaue Reiter artists developed a
refined abstraction, in which rhythm of line and a dramatic sense
of color dominated, with an absence of representational objects.
Klee, a unique genius, soon chose to work alone in Switzerland;
he used images with seemingly childlike, naive qualities to create
highly sophisticated personal statements with universal implications
in the guise of fantasy. Information provided by: http://www.iwc.com
The prints here offered, made by Henry Sanders ne Helmuth Saloman
are directly related to the great German Masters of the 20th Century.
These prints have been virtually unknown for more than half a century.
They are based on the unflinching principles of passionate conception
good draughtsmanship, and good printing. |
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