THE SECRETARY TO THE RUSSIAN PROTECTOR IN THINGS AND IN MORAVA, PRAGUE, inv. 2387, sig. 109-12/32

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English Translation

the traditional palms of the wood-chuitt to -prengen threaten. at that time. -o vicl attention he. stimulates. that for a long time he is considered only a graphic artist Las-en would. Still today he plies the wood. -chnitt. -of course the more important mural designs time to this with Vorhicbe. His works of the lett years. in particular his equestrians lead to that in work. community with others. The German graphic artist's annual sequence of woodcuts of the Woensam press. Witness of great man-like and artistic maturity. After the too long graphic intermezzo, only the favourable wind in the Segchn. around this painter, who could not and wanted to return to the wall, was necessary. Hardly with the departure of cine's new attitude was the mural recognized as. the central and greatest demand on the painting of our time. when he -I turned to it again and again for ever. Now he. in the mid-forties -te-hend. al- Man and Kunstler reached the high of his life path. The years of fulfilment come. of which we believe. Exald Bender Tapestry for an Artillerickaserne mur cinen advanced to the Cberlegeaheit art. and can succeed from the Range of Geißber. Just as the stone or glass mosaics could not be imaginable in the other way of reference. it could ever be dubious. dabs the construction. the drawing and colouring of the two glass window designs, of which the cinema as a counterpart for the Ehrcumal windows already used in the University of Cologne. from the properties of transparent. colored glazier and the * manual conditions valid for their processing. the two wall carpet. Templates au- der Wehetechnik develops -ind. Geißler is a wall-painter. he also works in less-technique. Even in the wood-chnitt. to which he has become necessary in the years after the end of the world war. but not without zeal. He has turned with solid leaves such as the farmer's jug or the laborer. in which the clementar expressive power. inner magnificence and dic extreme stress on the technical means of display 30à* Wandreppich Schwar-Rot