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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).