View allAll Photos Tagged Lithography,
Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume (not included here) lacked Thomas’ touch.
Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume (not included here) lacked Thomas’ touch.
Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume (not included here) lacked Thomas’ touch.
This lithography stone belonged to another artists and he was all ready to remove the image to clean the stone for another use. Calla lilies drawn with litho pencil, crayon, and liquid tusche..
Oil on canvas; 120 x 75.5 cm.
Otto Mueller was born in Liebau in German Silesia. Between 1890-1892 he was trained in lithography. From 1894 to 1896 he studied at the Academy of Fine Arts in Dresden and continued his study in Munich 1898. He left Munich's academy after Franz von Stuck classified him as untalented.
His early works are influenced by impressionism, Jugendstil and symbolism. From 1908, he turned more and more to expressionism. During this time there were meetings with Wilhelm Lehmbruck, Rainer Maria Rilke and Erich Heckel. In 1910, he joined 'Die Brücke', a Dresden-based group of Expressionist artists. He was member of the group until it disbanded in 1913 . At the same time Mueller also had contact with the artists group of the 'Blaue Reiter'.
During the World War I he fought as a German soldier in France and Russia. After the war he became professor at the academy of arts in Breslau where he taught until his death. Altogether his printmaking amounted to 172 prints, in woodcut, etching and lithography. In 1937 the Nazis seized 357 of his works from German museums, since the pictures were considered as degenerate art. Mueller was one of the most lyrical of German expressionist painters. The central topic in Mueller's works is the unity of humans and nature, whereas his paintings are focused on a harmonious simplification of form, color and contours. He is especially known for his characteristic paintings of nudes and gypsy women.
James Sowerby: English Botany
3rd Editition, around 1864
en.wikipedia.org/wiki/English_Botany
The plant has a different Latin name today.
LA: Limonium bellidifolium
EN: Matted Sea-Lavender
DE: Gänseblümchenblättriger Strandflieder
HU: Sóvirág (nem találtam a pontos magyar nevét)
Limonium plants do have nothing in common with lavender, only their colors.
They are to be found mainly in the Mediterranean regions of Europe. Common characteristic of the plants of genus Limonium is that they can tolerate salty (sea) water or salty marshes and meadows.
The matted sea-lavender is an evergreen sub-shrub. It is at home in the Mediterranean areas, in Turkey and in Central-Asia. Can be found mainly on salt meadows or marshes.
Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume (not included here) lacked Thomas’ touch.
Autor: Ebers, Georg Moritz, 1837-1898
Descripción bibliográfica: Egipto / por Jorge Ebers ; traducción directa del alemán por Antonio Bergnes de las Casas, revisada y corregida por Cayetano Vidal de Valenciano. - Ed. monumental ilustrada con 650 grabados ... del reputado pintor Cárlos Werner. - Barcelona : Espasa y Compañía, 1882?. - 2 v. (X, 408, [1] p., [14] h. de lám. ; 438, [1] p., [14] h. de lám.). : il. ; 40 cm
Materia: Egipto - Historia
Materia: Egipto - Descripciones y viajes - Siglo 19
Notas: Palau, t. 5, p. 1, lo fecha de manera aproximada en 1882. - Port. a dos tintas. - Antep. - Ilustrada con 650 grabados intercalados en el texto y enriquecida con dos cartas geográficas tirada a tres tintas, una portada en colores y 24 magnificas imitaciones de las artísticas acuarelas del pintor Carlos Weiner
Traductor:Bergnes de las Casas, Antonio, 1801-1879
Ilustrador:Werner, Karl, 1821-1888, il.
Localización: fama.us.es/record=b2019343~S5*spi
Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume (not included here) lacked Thomas’ touch.
Creator: Henri de Toulouse-Lautrec (French printmaker, 1864-1901)
Date: 1893
Materials: color lithography
Measurements: 125 cm (height) x 92 cm (width)
Work type: posters
Image_Filename: 05112801
Subjects: Dancers in art
Creator: Henri de Toulouse-Lautrec (French printmaker, 1864-1901)
Related work:
Date: 1895
Materials: color lithography
Measurements: 125.5 cm (height) x 91.2 cm (width)
Work location: Museum of Modern Art (New York, New York, United States) 298.1967
Work type: posters
Image Description: La revue blanche (1891-1903) was a bi-monthly intellectual journal published in Paris by Alexandre Natanson. The poster features Misia Godebska, wife of contributing writer Thadée Natanson.
Image_Filename: 10101201
Subjects: Advertisements
Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume (not included here) lacked Thomas’ touch.
That year, President Roosevelt ran against the Democratic candidate, Alton Parker.
Theodore Roosevelt served as the 26th president of the United States from 1901-1909. His face is on Mount Rushmore and is generally ranked in polls of historians and political scientists as one of the five best presidents. He was proudest of his work in conservation of natural resources and extending federal protection to land and wildlife. During his tenure as president, he established 150 national forests, 51 federal bird reserves, 4 national game preserves, 5 national parks and 18 national monuments. [Source: Wikipedia]
«Das Alte fällt – und neues Leben blüht aus den Ruinen», in diesem Falle sind es die Lithographiemaschinensteine. Die Schleifmaschine «entfernt» einen Umdruck, damit der gleiche Stein wieder für eine andere Arbeit verwendet werden kann.
[75 Jahre Eidenbenz-Seitz & Co., St. Gallen, 1938.]
Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume (not included here) lacked Thomas’ touch.
Distemper on burlap; 160.6 x 110.5 cm.
Otto Mueller was born in Liebau in German Silesia. Between 1890-1892 he was trained in lithography. From 1894 to 1896 he studied at the Academy of Fine Arts in Dresden and continued his study in Munich 1898. He left Munich's academy after Franz von Stuck classified him as untalented.
His early works are influenced by impressionism, Jugendstil and symbolism. From 1908, he turned more and more to expressionism. During this time there were meetings with Wilhelm Lehmbruck, Rainer Maria Rilke and Erich Heckel. In 1910, he joined 'Die Brücke', a Dresden-based group of Expressionist artists. He was member of the group until it disbanded in 1913 . At the same time Mueller also had contact with the artists group of the 'Blaue Reiter'.
During the World War I he fought as a German soldier in France and Russia. After the war he became professor at the academy of arts in Breslau where he taught until his death. Altogether his printmaking amounted to 172 prints, in woodcut, etching and lithography. In 1937 the Nazis seized 357 of his works from German museums, since the pictures were considered as degenerate art. Mueller was one of the most lyrical of German expressionist painters. The central topic in Mueller's works is the unity of humans and nature, whereas his paintings are focused on a harmonious simplification of form, color and contours. He is especially known for his characteristic paintings of nudes and gypsy women.
Arsenal (Vienna)
The Vienna Arsenal, object 1
(Pictures you can see by clicking on the link at the end of page!)
The Arsenal in Vienna is a former military complex in the southeast of the city, located in the 3rd district of Vienna. The mighty, consisting of several brick buildings facility is located on a rectangular plan on a hill south of the Country Road Belt (Landstraßer Gürtel).
Meaning
The Arsenal is the most important secular assembly of Romantic Historicism in Vienna and was conducted in Italian-Medieval and Byzantine-Moorish forms. Essentially the complex is preserved in its original forms; only the former workshop buildings within the bounding, from the the outside visible wings were replaced by new constructions.
History to 1945
Bird's eye view of the complex, arsenal, lithography Alexander Kaiser, 1855
Vienna Arsenal (Museum of Military History)
Arsenal, with HGM (Heeresgeschichtliches Museum) from the East
The complex, with a total of 31 "objects" (buildings) was built from 1849 to 1856 on the occasion of the March Revolution of 1848 and was the first building of the fortress triangle, replacing the old Vienna's city walls, with the Rossauer Barracks and the now-defunct Franz Joseph barracks at Stubenring. These buildings should not serve to deter foreign enemies from the city, but to secure state power in the event of revolutionary upheavals in Vienna. The decision to build the Arsenal, it came from the 19-year-old Emperor Franz Joseph I who on 2 December 1848 had come to the throne.
The design for the Imperial Artillery Arsenal came from General Artillery Director Vincenz Freiherr von Augustin, to which, subsequently, the site management had been transferred. Under his leadership, the buildings under assignment of sectors have been planned of the architects Carl Roesner, Antonius Pius de Riegel, August Sicard von Sicardsburg, Eduard van der Nüll, Theophil von Hansen and Ludwig Förster and built by the company of the architect Leopold Mayr.
From 1853 to 1856, Arsenal church was built by the architect Carl Roesner. The K.K. Court Weapon Museum, later K.K. Army Museum, now Museum of Military History, housed in a separate representative free-standing wing, was completed structurally in 1856, but was only in 1869 for the first time accessible.
For the construction of the Arsenal 177 million bricks were used. Construction costs totaled $ 8.5 million guilders. In the following years, there have been extensions. During the two world wars, the complex served as a weapons factory and arsenal, especially as barracks.
The record number of employees in Arsenal was reached in the First World War, with around 20,000 staffers. After 1918, the military-industrial operation with own steel mill was transformed into a public service institution with the name "Austrian Factories Arsenal". However, there were almost insoluble conversion problems in the transition to peacetime production, the product range was too great and the mismanagement considerable. The number of employees declined steadily, and the company became one of the great economic scandals of the First Republic.
By the fall of 1938, the area belonged to the 10th District Favoriten. However, as was established during the "Third Reich" the Reich District of Greater Vienna, became the arsenal complex and the south-east of it lying areas in the wake of district boundary changes parts of the 3rd District.
During the Second World War, in the Arsenal tank repair workshops of the Waffen-SS were set up. In the last two years of the war several buildings were severely damaged by bombing. During the Battle of Vienna, in the days of 7 to 9 April 1945, was the arsenal, defended by the 3rd SS Panzer Division "Totenkopf", focus of the fighting, the Red Army before its victory facing heavy losses.
History since 1945
Ruins of the object 15 after the air raids 1944
Deposits at the Arsenal Street
After heavy bomb damages during the Second World War, the buildings of the Arsenal were largely restored to their original forms.
In the southern part and in the former courtyard of the arsenal several new buildings were added, among them 1959-1963 the decoration workshops of the Federal Theatre designed by the architects Erich Boltenstern and Robert Weinlich. From 1961 to 1963, the telecommunications central office was built by the architect Fritz Pfeffer. From 1973 to 1975 were built operation and office building of the Post and Telephone Head Office for Vienna, Lower Austria and Burgenland (now Technology Centre Arsenal of Telekom Austria) with the 150-meter high radio tower in Vienna Arsenal according to the plans of architect Kurt Eckel. In the 1990s, a rehearsal stage of the Castle Theater (Burgtheater) was built according to plans by Gustav Peichl.
Also the Austrian Research and Testing Centre Arsenal, now Arsenal Research, which has made itself wordwide a celebrity by one of the largest air chambers (now moved to Floridsdorf - 21st District), was housed in the complex. A smaller part of the complex is still used by the Austrian army as a barracks. Furthermore, the Central Institute for Disinfection of the City of Vienna and the Central Chemical Laboratory of the Federal Monuments Office are housed in the arsenal. The Military History Museum uses multiple objects as depots.
In one part of the area residential buildings were erected. The Arsenal is forming an own, two census tracts encompassing census district, which according to the census in 2001 had 2.058 inhabitants.
End of 2003, the arsenal in connection with other properties of the Federal Property Society (BIG - Bundesimmobiliengesellschaft) was sold to a private investor group. Since early 2006, the lawyer of Baden (Lower Austria, not far away from Vienna) Rudolf Fries and industrialist Walter Scherb are majority owners of the 72,000 m2 historic site that they want to refurbish and according to possibility rent new. Fries also plans to enlarge the existing living space by more than a half (about 40,000 m2).
An architectural design competition, whose jury on 28 and 29 in June 2007 met, provided proposals amounting to substantial structural changes in the complex. Such designed competition winner Hohensinn a futuristic clouds clip modeled after El Lissitzky's cloud bracket, a multi-level horizontal structure on slender stilts over the old stock on the outskirts of the Swiss Garden. The realization of these plans is considered unlikely.
Some objects are since 2013 adapted for use by the Technical University of Vienna: Object 227, the so-called "Panzerhalle" will house laboratories of the Institute for Powertrains and Automotive Technology. In object 221, the "Siemens hall", laboratories of the Institute for Energy Technology and Thermodynamics as well as of the Institute for Manufacturing Technology and High Power Laser Technology are built. In object 214 is besides the Technical Testing and Research Institute (TVFA) also the second expansion stage of the "Vienna Scientific Cluster" housed, of a supercomputer, which was built jointly by the Vienna University of Technology, the University of Vienna and the University of Agricultural Sciences.
Accessibility
The arsenal was historically especially over the Landstraßer Gürtel developed. Today passes southeast in the immediate proximity the Südosttangente called motorway A23 with it connection Gürtel/Landstraßer Hauptstrasse. Southwest of the site runs the Eastern Railway, the new Vienna Central Station closes to the west of the arsenal. Two new bridges over the Eastern Railway, the Arsenal Stay Bridge and the Southern Railway bridge and an underpass as part of Ghegastraße and Alfred- Adler-Straße establish a connection to the on the other side of the railway facilities located Sonnwendviertel in the 10th District, which is being built on the former site of the freight train station Vienna South Station.
On the center side is between Arsenal and Landstraßer Gürtel the former Maria Josefa Park located, now known as Swiss Garden. Here stands at the Arsenal street the 21er Haus, a branch of the Austrian Gallery Belvedere, on the center-side edge of the Swiss Garden has the busy suburban main railway route the stop Vienna Quartier Belvedere, next to it the Wiener Linien D (tram) and 69A (bus) run.
Girard Museum, Girard College
Even though I worked for three years in a fine art print gallery (The Print Club, now The Print Center), I will never understand how an image this complex can be applied in reverse to a piece of stone. Looks impossible.
These lithographs, "Gunton Park" and "Locko Park," originate from "A Series of Picturesque Views of Seats of Noblemen and Gentlemen of Great Britain and Ireland" by Rev. Francis Orpen Morris, 1880. The wood-block plates for these prints were engraved by renowned printer Benjamin Fawcett (1808-1893) after drawings by artist Alexander Francis Lydon (1836-1917).
The frames had damage when I purchased these for $10 apiece from a liquidation sale. The seller knew nothing about them, and I established their provenance following some judicious research.
I restored these by hand over the course of several days.
Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume (not included here) lacked Thomas’ touch.
Die Solnhofer Steine sind das symbolische Material der Lithographie [...] Tausende dieser Steine in allen Formaten sind in unsern Kellern eingelagert und enthalten die Originallithographien unserer Kunden. Andere Warten darauf, ans Tageslicht geholt und mit einer schönen Lithographie versehen zu werden.
[75 Jahre Eidenbenz-Seitz & Co., St. Gallen, 1938.]
Another practice at putting up the work and trying to assemble the pieces together to form a coherent 'story'. I had previously sorted out all of my work into a 'good' and a 'bad' pile of drawings, prints, photocopies and then played with how they all sat together.
Autor: Ebers, Georg Moritz, 1837-1898
Descripción bibliográfica: Egipto / por Jorge Ebers ; traducción directa del alemán por Antonio Bergnes de las Casas, revisada y corregida por Cayetano Vidal de Valenciano. - Ed. monumental ilustrada con 650 grabados ... del reputado pintor Cárlos Werner. - Barcelona : Espasa y Compañía, 1882?. - 2 v. (X, 408, [1] p., [14] h. de lám. ; 438, [1] p., [14] h. de lám.). : il. ; 40 cm
Materia: Egipto - Historia
Materia: Egipto - Descripciones y viajes - Siglo 19
Notas: Palau, t. 5, p. 1, lo fecha de manera aproximada en 1882. - Port. a dos tintas. - Antep. - Ilustrada con 650 grabados intercalados en el texto y enriquecida con dos cartas geográficas tirada a tres tintas, una portada en colores y 24 magnificas imitaciones de las artísticas acuarelas del pintor Carlos Weiner
Traductor:Bergnes de las Casas, Antonio, 1801-1879
Ilustrador:Werner, Karl, 1821-1888, il.
Localización: fama.us.es/record=b2019343~S5*spi
The silicon nanopillars are fabricated through combining two techniques, a gold mask made by nanosphere lithography and a Metal-Assisted Chemical Etching of Silicon.
The structures shown in the imagen look like an amazing coral reef, but at the nanoscale
Courtesy of Marcos Rosado
Image Details
Instrument used: Magellan
Magnification: 13.000x
Horizontal Field Width: 23 um
Vacuum: 5 x 10E-5 Pa
Voltage: 2kV
Spot: 100 pA
Working Distance: 5.2
Detector: vCD
«Der Lithograph macht all’s verkehrt, trotzdem ist seine Kunst begehrt» (St. Gallische Gewerbeausstellung 1927, Inschrift an der Werkgasse).
[75 Jahre Eidenbenz-Seitz & Co., St. Gallen, 1938.]
From James Sowerby's English Botany, 3rd edition, around 1864.
This edition saw the use of lithography printing, still hand-colored.
The plant name here reads:
"Poterium muricatum - Muricated Salad Burnet"
Today it is called:
LA: Sanguisorba minor
EN: Salad burnet / Small burnet
DE: Kleiner Wiesenkopf
HU: Csabaíre / Kis vérfü
Nickolas Muray (born Mandl Miklós[1] 15 February 1892, Szeged - 2 November 1965, New York) was a Hungarian-born American photographer and Olympic fencer.
Muray attended a graphic arts school in Budapest, where he studied lithography, photoengraving, and photography. After earning an International Engraver's Certificate, Muray took a three-year course in color photoengraving in Berlin, where, among other things, he learned to make color filters. At the end of his course he went to work for the publishing company Ullstein. In 1913, with the threat of war in Europe, Muray sailed to New York City, and was able to find work as a color printer in Brooklyn.
Muray competed for the United States at the 1928 and 1932 Summer Olympics in the sabre fencing events.[2] Muray represented the New York Athletic Club and was a lifelong fencer for the club. He suffered a heart attack four years prior to his death while fencing at the club and was saved through the efforts of a fellow fencer and physician who performed open heart massage. On the second occasion in the very same fencing room Muray was struck again in a final and fatal attack. There is a plaque in his honor on display at the fencing room dedicated to his memory.
Between 1920 and 1940, Nickolas Muray made over 10,000 portraits. His 1938's portrait of Frida Kahlo, made while Kahlo sojourned in New York, attending her exhibit at the Julien Levy Gallery, became the best known and loved portrait made by Muray. Muray and Kahlo were at the height of a ten-year love affair in 1939 when the portrait was made. Their affair had started in 1931, after Muray was divorced from his second wife and shortly after Kahlo's marriage to Mexican muralist painter Diego Rivera. It outlived Muray's third marriage and Kahlo's divorce and remarriage to Rivera by one year, ending in 1941. Muray wanted to marry, but when it became apparent that Kahlo wanted Muray as a lover, not a husband, Muray took his leave for good and married his fourth wife, Peggy Muray.[3] He and Kahlo remained good friends until her death, in 1954.
After the market crash, Murray turned away from celebrity and theatrical portraiture, and become a pioneering commercial photographer, famous for his creation of many of the conventions of color advertising.[4] He was considered the master of the three-color carbro process.[4] His last important public portraits were of Dwight David Eisenhower in the 1950s.
Winckelmann - lithography (1852-1862) by Johann Leonhard Appold - The print is a partial reproduction of the portrait of Winckelmann, made by Anton von Maron in 1768 - Exhibition "Winckelmann and the collections of Archaeological Museum of Naples" up to September 25, 2017 - Naples, Archaeological Museum
Distemper on burlap; 110.5 x 77.6 cm.
Otto Mueller was born in Liebau in German Silesia. Between 1890-1892 he was trained in lithography. From 1894 to 1896 he studied at the Academy of Fine Arts in Dresden and continued his study in Munich 1898. He left Munich's academy after Franz von Stuck classified him as untalented.
His early works are influenced by impressionism, Jugendstil and symbolism. From 1908, he turned more and more to expressionism. During this time there were meetings with Wilhelm Lehmbruck, Rainer Maria Rilke and Erich Heckel. In 1910, he joined 'Die Brücke', a Dresden-based group of Expressionist artists. He was member of the group until it disbanded in 1913 . At the same time Mueller also had contact with the artists group of the 'Blaue Reiter'.
During the World War I he fought as a German soldier in France and Russia. After the war he became professor at the academy of arts in Breslau where he taught until his death. Altogether his printmaking amounted to 172 prints, in woodcut, etching and lithography. In 1937 the Nazis seized 357 of his works from German museums, since the pictures were considered as degenerate art. Mueller was one of the most lyrical of German expressionist painters. The central topic in Mueller's works is the unity of humans and nature, whereas his paintings are focused on a harmonious simplification of form, color and contours. He is especially known for his characteristic paintings of nudes and gypsy women.