Pinselzeichnung Brush-drawing illusion of the written word into the language of graphic art. How mar vellously does he capture and por tray the spiritual affinities between the characters and the very at mosphere of the landscape. And the melody underlying it all, un speakably poignant like the last notes trembling on the violin strings, reverberates in Ulrich's drawings. Nor in his illustrations of Dickens' worksafter the Bible the books most reverenced in England!does Ulrich hover round the text, he ac companies it like a faithful chro nicler. The wonderful world of Dickens with its fascinating conglo meration of human types, pathetic, quaint, witty, unscrupulous or high- minded as they may be, appears again with almost documentary fidelity. That world has almost become tangible. Our eyes feast on it with the delight of a co- noisseur. A panorama of genre pictures typical of that Victorian age flits past. These sketches, how ever, never desert the text of the book; like Schwind's and Richter's illustrations they rather guide the reader to it. For Ulrich's pictures; have grown from the words they interpret so faithfully, and both are blended in that harmony of spirit which is the hall-mark of the perfect illustration. Trans, by F! Salmond-Volkmann

Gebrauchsgraphik de | 1938 | | page 82