style of graphic expression, an influence which can easily be read in some of the pieces reproduced here. He shares the sure- ness of his master's light wrist,» only Oelke seems to us to be more nervous, more sen sitive and where Hegenbarth, above all in his recent work, uses a forceful approach, Oelke, who is so much younger, is careful and delicate, sometimes even tender. He has a sense of droll humor and grotesque shapes, a quick eye for the spontaneity of a move ment, of the grace of a gesture, but in spite of this he does not slip into being slick and fashionable. The artist shows his charm to the greatest advantage when he illustrates children's books. The use of the word «charm» is easily explained by his devotion to the subject, to the topic «child,» and by his devotion to children (and animals) and their world. Oelke has in addition to this proved his worth as a skilfull designer of book-jackets in excellent taste. Here his in stinct for decorative art plays a decisive part since the attraction, artistically designed, re mains the guiding spirit of every jacket, no matter whether it aims at illustration or else is based on the visual appeal of a script. If Oelke for the time being has decided in favor of Hegenbarth's graphic orientation, he only could do so after having acquired a firm foundation in drawing and a fully formed technique through Willi Titze's and Alfred Mahlau's instruction. This may be the reason why the almost virtuosolike sureness of his duct forms the delight of everyone that looks at these pieces of graphic art. Each simple little crochet, each and every curlicue but also the anatomy of a finger, of a joint proves with what precision and per fection the eye here guides the duct. This would not be possible if his eye and hand had not been practiced over a long time and been held to be nothing but a faithful instru ment for the artistic and imaginative process which we paraphrase by the banal term of drawing. 51

Gebrauchsgraphik de | 1958 | | page 55