In this Mercedes poster of the period (1920-1926), and prior examples,
Hohlwein's work seems to be dependent more and more on photographic
images. However, he takes his adaptations to another level seeming
to know when to let go of any hold the photo may have of him. His
leaving images to the imagination of the viewer and creative use of
color dispels any suggestion that he might be just another illustrator
who uses photos as a crutch. (That's a term we used to hear a lot
of fifty years ago until photographic realism just about destroyed
tasteful illustration -- and much of gallery painting as well.) (Paul
Giambarba, Luwig Hohlwein: An Appecaition)
ca. 1920 Mercedes-Benz open Roadster
Leading poster historian Alain Weill comments that "Hohlwein was
the most prolific and brilliant German posterist of the 20th century...Beginning
with his first efforts, Hohlwein found his style with disconcerting
facility. It would vary little for the next forty years. The drawing
was perfect from the start, nothing seemed alien to him, and in
any case, nothing posed a problem for him. His figures are full
of touches of color and a play of light and shade that brings them
out of their background and gives them substance "(Weill)
Self-taught as a graphic designer, he was greatly influenced by
the brilliant work of Beggarstaff.
"His special way of applying colors, letting them dry at different
times, and printing one on top of the other, producing modulations
of shading, has often been copied, but never equaled. He belonged
to no school or group, his art and personality are an unprecedented
phenomenon in the history of German poster art" (Rademacher, p.
22).
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