An émigré Bauhauser in Australia: An investigation of Ludwig Hirschfeld-Mack’s 'Preparing', 1959

An Émigré Bauhauser in Australia An investigation of Ludwig Hirschfeld-Mack’s Preparing, 1959

Figure 1 | Screen shot image from the Ian Potter Museum of Art website of Preparing, 1959 with the image caption that contradicts the collections catalogue above (Ian Potter Museum of Art 2016a).

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Introduction

Upon investigation of Ludwig Hirschfeld-Mack’s Preparing, 1959, housed at the Ian Potter Museum of Art, contradictions concerning the work’s construction arose. Various descriptions of the artwork list the medium as either durchdrückzeichnung (press-through drawing) (Figure 2), or as a painting comprising of ‘watercolour on kalsomine on tempera on cardboard’ (Figure 1). Insitu examination was not feasible during the course of research to confirm which medium description was correct and only a cursory examination of Preparing could be conducted. Analysis was based on images provided on the Ian Potter website, historical research and comparative analysis of similar works in various Australian institutions. Based on this research, it is in the author’s opinion that Preparing is an example of Hirschfeld-Mack’s durchdrückzeichnung drawings, a technique that generated a prolific amount of work in the later part of his career. However, determining which medium description is correct is not the impetus of this paper. This investigation of Preparing provides a springboard to discuss the techniques and influences of Hirschfeld-Mack, who was a student and teacher at the famed Bauhaus school during the Weimar period (1919-1925), providing a direct link to a period of seminal European modernist artistic practices in Australia.

Figure 2 | Screen shot image of the online catalogue entry on the Ian Potter Museum of Art website of Preparing, 1959 (Ian Potter Museum of Art 2016b).

Ludwig Hircshfeld Mack and the Bauhaus in Australia

Ludwig Hirschfeld-Mack (1893-1965) was a German-born artist and teacher, whose formative education at the Weimar Bauhaus was to have a lasting impact on his practice in Australia. Formed by Walter Gropius In 1919, Weimar, Germany, the Bauhaus was an art and architectural school with a new utopian and progressive spirit that was to have lasting influence on modern art and design. The curriculum involved training in a craft where ‘…every student at the Bauhaus was trained by two teachers in each subject, that is, by an artist [termed Master ASSIGNMENT 2 OBJECT INVESTIGATION CUMC90028 CONSERVATION AND OBJECT BASED LEARNING

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of Form] and a master craftsman [designated Master of Craft]’ (Hirschfeld-Mack 1963, p. 7). A truly holistic approach that spanned international boundaries, the Bauhaus’ attracted leading European artists as Bauhaus Masters, including Paul Klee, Wassily Kandinsky, Johannes Itten, Lyonel Feininger and Oskar Schlemmer, László Maholy-Nagy, Josef Albers and Marcel Breuer (Hirschfeld-Mack 1963, p. 7; Mead 2003; Siebenbrodt & Schöbe 2009). The early Expressionist ideology was the production of a ‘total’ artwork through a union between the various arts and crafts disciplines (Geelhaar 1973, p. 13; Siebenbrodt & Schöbe 2009, pp. 40-1). The later Constructivist influences saw the Bauhaus’ second phase, following Gropius’ new motto: ‘art and technology – a new unity’ (Gropius cited in Siebenbrodt & Schöbe 2009, p. 41), advocating for an economy of materials and abstraction (Geelhaar 1973, pp. 14-5). Artistic disciplines were progressively isolated over the years, with an emphasis on design culminating with the Bauhaus’ relocation to Dessau in 1925. Hirschfeld-Mack’s creative output was intrinsically shaped by the early history of the Bauhaus with both Expressionist and Constructivist influences that sees ‘…an appeal to the universal as well as a constant struggle between figuration and abstraction, particularly in his graphic work’ (McNamara 2008, p. 15).

Hirschfeld-Mack received training in the Bauhaus Printing Workshop, developing techniques that were to persist throughout his career. Hirschfeld-Mack became a lithography apprentice in the Printing Workshop in 1920 and promoted to journeymen in 1922, providing opportunities for active collaboration with the Bauhaus Masters (Draffin 1974, pp. 40-1). Hirschfeld-Mack’s particular interest was colour theory and he conducted informal seminars at the Bauhaus, developed from his training with Kandinsky, Klee and earlier with Adolf Hözel (Bauhaus-Archiv 2016; Siebenbrodt & Schöbe 2009, p. 49). His most celebrated Bauhaus contributions were his Colour Light Plays (Farbenlichtspiele), multi-sensory music and light performances, and the Colour Top (Farbenkriese) (McNamara 2008, 2009). Hirschfeld-Mack did not follow the Bauhaus to Dessau, but instead, remained in Weimar and taught in schools, eventually moved to Berlin and then fleeing to Britain in 1936 upon the rise of the Nazis due to his part-Jewish heritage (Fisher 1996; Mead 2003). Subsequently deported to Australia on the Dunera in 1940, Hirschfeld-Mack was interned at camps near Hay, Orange, and Tatura , producing woodcut prints illustrating life under detention (Mead 2003, p. 2; Thomas 1993, p. 520). Under the sponsorship of the headmaster of Geelong Church of England Grammar School, Hirschfeld-Mack was appointed art master in 1942 where he implemented holistic material-based learning techniques and promoted Bauhaus pedagogy in Australian art education (Stasny 1999; Thomas 1993).

Art education was Hirschfeld-Mack’s primary focus and his artistic output was more or less ignored, with little contact with the local art community. This is surprising considering the recognition of his fellow Bauhaus colleagues, who he had maintained close contact with (Bosse 2012; Hirschfeld-Mack 1963). Hirschfeld-Mack

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held only a handful of exhibitions in Melbourne of original works, with international exhibitions mainly interested in his Bauhaus era works (Draffin 1974, p. 45; Mead 2003). It was not until his retirement in 1957 that saw a renewed focus on art as his widow, Olive Hirschfeld-Mack elaborated in 1977: I expect it does seem surprising that my husband was not more in touch with some of the other artists here, but he was a shy man who never sought the lime light and he gave himself so completely to his teaching while at Geelong Grammar School (GCS). One of the Bauhaus staff once said of him, ‘He will either become a great artist or a great teacher.’ I think the latter became true. He was so concerned to liberate the creativeness in young people and that came first so that he often had little time for his own painting until he retired’ (Hirschfeld-Mack O, cited in McNamara 2008, p. 7).

After his death in 1965, his widow bequeathed his artworks and records to Ian Potter Museum of Art, National Gallery of Australia, National Gallery of Victoria, Art Gallery of New South Wales and the Museum of Modern Art in the United States. It is during the later period of Hirschfeld-Mack’s retirement that Preparing was completed and it compels examination of the work in the context of an artistic development that had been continually disrupted by history and his dedication to education, only to be resumed in relative isolation upon his retirement.

Ludwig Hirschfeld-Mack was an important and active figure at the Weimar Bauhaus and his significance in Australia’s cultural history has largely been unrecognised.

Making of Ludwig Hirschfeld-Mack’s Preparing, 1959

History of Hirschfeld-Mack’s durchdrückzeichnung technique The durchdrückzeichnung technique begins to appear in Hirschfeld-Mack’s work from 1920 onwards and it is likely he first encountered it through Paul Klee, a colleague of Hirschfeld-Mack who occupied the adjoining studio (Bobele 2010, p. 17). The technique is essentially a hand traced print using oil-based paints or lithographic inks (Jordan 1983, p. 94). The technique was used most prolifically by Klee between 1919 and 1925 during the Weimar Bauhaus period. Klee described the process as ‘a sheet of paper is painted with black oil colouring and is used as a carbon. The reverse of the drawing is then worked with a needle’ (Klee, cited in Draffin 1974, p. 42). For Klee, the technique was intended for duplicating works or drawings that could be transferred onto the lithographic stone. The technique imparted the ‘carbon’ paper’s texture from accidental smudges of the palm and the soft fuzzy broad character of the traced line created by the pressure of the stylus, diffused through multiple layers of paper (Gryberger 1979, p. 11; Jordan 1983, p. 94). Some prints were subsequently coloured with watercolour with the colour receding from the line due to the chemical antipathy of

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the oil linework and the water-based medium, making the sequence of the work’s construction evident in alignment with Klee’s theories on art (Bobele 2010, p. 17; Jordan 1983, pp. 92-3).

Purportedly, Klee regarded the technique of durchdrückzeichnung as a closely guarded secret (Geelhaar 1973, pp. 87-8; Jordan 1983, p. 96). However, such a simple technique could readily occur to an accomplished printer such as Hirschfeld-Mack who would be accustomed to working with paper and slow drying inks, and skilled in achieving delicate textures through lithography (Draffin 1974, p. 42). Many of Hirschfeld-Mack’s 1920s durchdrückzeichnung works share the figurative qualities and ‘fuzzy’ aesthetic of Klee’s work, suggesting his influence on Hirschfeld-Mack’s practice (Draffin 1974) (Figure 3). Many of the Hirschfeld-Mack’s later works in the Ian Potter collection from his time in Australia are classified as durchdrückzeichnung, with a similar visual quality, strongly suggesting Preparing was made using this method. Comparing online records of visually similar works from the same period housed in the National Gallery of Australia, National Gallery of Victoria and at the Ian Potter, all these institutions classify these artworks as prints, transfer prints or monotypes, suggesting Preparing indeed involved a similar application of ink on a paper support, however, employed in a more direct manner.

Figure 3 | Image of Ludwig Hirschfeld-Mack’s Untitled (Room interior with figures and star), 1922 on the left, and Paul Klee’s Steamer for Lugano, 1922. The figurative and lyrical drawing of Hirschfeld-Mack’s work displays some visual similarities to Klee’s work, both dated 1922 where they were both at the Weimar Bauhaus.

Left: Ludwig Hirschfeld, Untitled (Room interior with figures and star), 1922, ink; paper transfer print, printed in black ink, from one plate, 18.4 x 17.9 cm, National Gallery of Victoria (National Gallery of Australia 2016b).

Right: Paul Klee, Steamer for Lugano, 1922, lithograph, c. 27.8 x 38.8 cm, Museum of Modern Art (Museum of Modern Art 2016).

Adaptation of the durchdrückzeichnung technique in Preparing Bobele (2010) examines Hirschfeld-Mack’s adaptation of Klee’s technique, employed on works at the Ian Potter which reflects a more direct method which had not been seen in his work prior to his arrival in Australia. With

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either pencil or ballpoint pen, the drawing was made directly on the back of the receiving paper placed on an inked plate, creating an instantaneous imprint on the reverse. On the National Gallery of Australia’s website, Hirschfeld-Mack’s work, Untitled (Landscape with moon and trees), 1959, reveals both the recto and verso, clearly demonstrating the method (Figure 4).

[T]he reasons for choosing it were thus obviously aesthetic – the line produced is of a fine yet darkly definitive nature that varies in its quality according to viscosity of ink, texture of paper and the relative hardness of the pencil or pen used in the ‘original’ drawing’ (Bobele 2010, p. 18).

Comparing the defined linework of Preparing with the fainter ‘scratches’ of his 1920s works, it appears Preparing was indeed drawn in such a direct method. The more deliberately composed background ‘smudges’ seem have a textured appearance with striations achieved by scratching the ink surface on the plate.

Figure 4 | Image of the recto (left) and verso (right) of Hirschfeld-Mack’s Untitled (Landscape with moon and trees), 1959, showing the adjustment of the durchdrückzeichnung technique which involved directly drawing on the back of the receiving paper to imprint the ink onto the underside (recto side).

Ludwig Hirschfeld, Landscape with moon and trees, 1959, transfer print, printed in black ink; watercolour additions (recto); black pencil (verso), 22.2 x 27.4 cm, National Gallery of Victoria (National Gallery of Australia 2016a).

Such a direct technique would undoubtedly inform the imagery, requiring a simpler pictorial language as one would not have the benefits of tracing a pre-prepared sketch. Bobele (2010) concurs with this observation and remarks on the abstract quality of Hirschfeld-Mack’s later drawings: The ability to produce such a line in an action akin to drawing undoubtedly informed the imagery used by Mack in many of the monotypes in the Potter collection, most of which are explorations of the natural rhythms of line, form and (where watercolours have been incorporated) colour. … Almost through the use of a single stroke, Mack explores the potential for change of a particular form through several metamorphoses’ (Bobele 2010, pp. 18-9).

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The abstract imagery of Preparing reflects the form and colour theories espoused by the Bauhaus Master, Wassily Kandinsky. Preparing depicts three figures constructing a totem composed of triangles with a circle at the apex, the watercolour passages in primary colours. Kandinsky famously associated the circle, triangle and square with blue, yellow and red respectively(Hirschfeld-Mack 1963, p. 6; Poling 1986, pp. 72-3). The use of these fundamental shapes and the application of primary colours show the recurrence of Hirschfeld-Mack’s Bauhaus influences in not only in his adaptation of Klee’s durchdrückzeichnung printmaking technique, but also in the abstract pictorial language in his later works.

Materials of Ludwig Hirschfeld-Mack’s Preparing, 1959

Preparing is potentially composed of a paper support with a lithographic ink ‘print’ or ‘press-through’ drawing with watercolour applied over. Aligned with Bauhaus ideology that championed the ‘truth’ of materials and an economy of production, the durchdrückzeichnung technique is relatively simple, exploiting the innate characteristics of the materials. The execution of Preparing appears more refined compared to HirschfeldMack’s earlier work, demonstrating his mastery and familiarity with the materials in his later career.

Support layer In Preparing, Hirschfeld-Mack shows a nuanced command of the primary material, paper. Choice of support is often informed by the intended media, and with the predominately watercolour surface and technical requirements of the durchdrückzeichnung process, Hirschfeld-Mack would have considered paper absorbency and thickness. The material qualities that the paper in Preparing would need to exhibit are: adequate absorbency for watercolour and lithographic ink application without bleeding and yet with enough absorbency to adhere to the surface; and, significant stiffness to ensure the paper can support itself above the inked plate without unwanted contact whilst also allowing reasonable pliability to be imprinted from the reverse. Premium watercolour paper appears to be most suitable material. Premium papers would have been used, especially since his drawings are effectively one-of-a-kind hand-watercoloured monoprints. In European papermaking, mold or handmade rag papers made purely from cotton are considered the finest support for artists’ papers (Gettens & Stout 1966, p. 244; Gottsegen 1987, p. 18). Cotton fibres compared to linen have longer lengths, uniform diameter and high cellulose composition, qualities that are highly prized for producing and paper with bulk, opacity and strength for art prints and drawings (Bolam 1965, p. 86; Gettens & Stout 1966, p. 242).

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The predominately watercolour surface would have primarily dictated the selection of a suitably sized paper.

Watercolour paper requires impregnation with sizing that produces the correct balance of absorbency – too much will produce irregular effects, whist too little will give dull results (Mayer 1991, p. 301). Internal sizes of ideally gelatine or hide glue are used in artists’ papers, though starch, gums, oils, waxes, potash alum (later replaced by aluminium sulphate), and synthetic resins can also be used to produce other standards of paper (Henry 1988; National Archives of Australia 2013). The durchdrückzeichnung technique relies on mechanical pressure of the pencil to impress the ink. Compare this process to standard lithography that depend on the mere contact with skilfully placed ink on the stone and therefore requiring a highly absorbent or unsized paper (Grabowski & Fick 2009, pp. 26,159). Therefore, the adhesion of the lithographic ink on Preparing is facilitated by pressure of the pencil rather than the paper’s absorbancy, suggesting that the work may have been completed on sized artist quality papers.

Thickness is an important quality in watercolour papers. Thin papers less than 280 pounds (600 grams /m2) tend to cockle on contact with water, requiring stretching onto a board, whilst heavyweight board-like papers do not require such preparation (Krug 2007, p. 118; Mayer 1991, pp. 302-3). Considering reasonable flexibility is required for the pressure of the pencil to impress through the paper, heavyweight paper would not have been used for Preparing. Commonly, 140 pounds (300 grams/m2) and similar paper gauges are used in watercolours and could conceivably provide the required stiffness to sit above the inked plate but pliable enough for the pressure of the pencil (Krug 2007, p. 118; Mayer 1991, p. 302). However, mid-weight papers require stretching before painting. Preparing measures 635mm x 505mm, smaller than the most common standard-sized ‘imperial’ sheet (762mm x 558mm) (Mayer 1991, p. 303). This may indicate Hirschfeld-Mack did indeed fix the paper on a board with tape, glue or tacks to the edges, which were subsequently trimmed off upon completion of the work.

Media layer The media of Preparing possibly consists of lithographic ink with watercolour paint over, illustrating HirschfeldMack’s printmaking skills developed at the Bauhaus. The lithographic process relies on the chemical incompatibility of oil and water, requiring careful modification of oil-based inks to resist water successfully (Leach & Pearce 1993, p. 4). Traditional inks were based on heat-bodied linseed oils (oil partially polymerised by heat) and rosin, with the addition of waxes and other additives to produce the desired viscosity (Gottsegen 1987, pp. 59-62; Leach & Pearce 1993, p. 4; Mayer 1991, p. 598). The 1920s saw the introduction of synthetic resins and the eventual prevalence of synthetic resin inks in the postwar era (Leach & Pearce 1993, p. 4). Lithographic processes produce a smooth uniform ink layer, requiring a stiff ‘buttery’ paste with higher viscosities to be readily rolled and levelled with the necessary tackiness and oiliness (Mayer 1991, p. 598). These rheological ASSIGNMENT 2 OBJECT INVESTIGATION CUMC90028 CONSERVATION AND OBJECT BASED LEARNING

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qualities are closely controlled and graded in commercial inks, with master printers formulating the desired inks by combining two or more viscosities (Mayer 1991, p. 598). Lithographic inks are formulated on slower evaporating solvents, due to the large surface area of the roller system and the relatively long time the ink is exposed during the traditional lithography process (Leach & Pearce 1993, p. 7). Lithographic inks dry mainly through absorption into the substrate and chemical and oxidation reactions of the resins, creating cross-linked and durable films (Leach & Pearce 1993, pp. 9-10).

Preparing was completed in 1959, well within the arrival of synthetic resins. However, considering HirschfeldMack’s history at the Bauhaus, traditional linseed oil-based inks may also be present. Hirschfeld-Mack’s training in the Bauhaus Printing Workshop was conducted under the Master of Form, Lyonel Feininger (1871 – 1957) (Draffin 1974, pp. 15-7). Gropius’ first appointment and already an established practitioner before arriving at the Bauhaus, Feininger would have been familiar with the printing process using traditional oil-based ink. It could be inferred that Hirschfeld-Mack would have been initially trained in the manipulation of traditional oil-based inks, and due to his disrupted artistic output, potentially resuming established practices during this later career when Preparing was completed. In any case, either oil- or synthetic-based lithographic inks may have been used. The material qualities of lithographic ink would assist the durchdrückzeichnung method: slow evaporation rate would ensure time could be taken to compose the image and improvise during the drawing process; whilst the customisation of ink viscosity would allow the adhesion qualities to be controlled to prevent unwanted ink to be deposited on the receiving paper.

Hirschfeld-Mack’s lithography experience may have informed his ability to create the stippled shading and water-coloured areas in Preparing. In lithography, a variety of painterly textured effects can be achieved with the drawing or brushing of oil-based tusche onto to the stone or transfer paper, allowing oil-based ink to be deposited onto the tusche, whilst leaving the untouched hydrophilic gum Arabic etched areas un-inked (Gascoigne 1986, pp. 1c-2a,b; Grabowski & Fick 2009, pp. 163-5; Mayer 1991, pp. 588-98). For a skilled lithographer, achieving the stippled texture would be simple, potentially mimicking Klee’s methods where he used papers, fabrics and other materials inked up with tusche to impress textures (Jordan 1983, p. 94).

Hirschfeld-Mack may have used a similar technique to disturb the smooth ink on the plate. An understanding of the antipathy of water and oil crucial to lithography would have also informed the application of watercolour which allows the ink linework and shading to maintain intensity and clarity, and a common technique to colour prints and used by Klee (Bobele 2010, p. 20). Watercolour paints are pigments suspended in a gum Arabic and water solution, solutions already in use in the lithography process (Mayer 1991, p. 304). The colours used on Preparing appear to be single pigments: ultramarine blue, alizarin and lemon yellow (pale cadmium or strontium

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yellows potentially), all suitable for watercolour (Mayer 1991, p. 79). Such a ‘pure’ use of colour would be considered aligned with the artistic ideology of the Bauhaus which advocated non-representational abstraction, showing the ongoing influence of the Bauhaus on Hirschfeld-Mack’s later works.

Conclusion

Examination of Ludwig Hirschfeld-Mack’s Preparing, 1959, though online records at the Ian Potter and comparative analysis of similar works online has revealed that it may be an example of his durchdrückzeichnung drawing technique, commonly used throughout his career. Historical research and investigation of the materials and techniques involved uncovered the enduring influence of Hirschfeld-Mack’s training in lithography and the artistic sensibility developed during the Weimar period of the Bauhaus school. Indeed, Hirschfeld-Mack embodied in his practice the union of craft and art, espoused by the Weimar Bauhaus, displaying an intimate understanding of materials and the tradition of lithography but employing them in new ways using a modern abstracted pictorial language. Even without insitu examination of Preparing to confirm conclusions, this analysis has provided a deeper appreciation of the contributions of an eminent émigré artist practicing in Australia, with direct links to the influential Bauhaus school and prominent European modern artists, but who has been largely unrecognised in Australian cultural history.

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Museum of Modern Art 2016, German Expressionism: Works from the collection, MoMA, viewed 9 May 2016, <http://www.moma.org/collection_ge/object.php?object_id=67394>.

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