R ItNöKe». Richard Lindner [Continued from page 496] first glance seem open to objection. Would this not be, in a way, a misuse of the medium? For in point of fact this translation from one art form to another is nothing more than a re production process, in which the artist's contribution is limited to supervision of the specialists' work and to the subsequent addition of his signature. Here several reservations must be made. It is quite understandable, to begin with, that Lindner should wish to see his sequence of water- colours in the hands of more than a single collector. His compositions, with their strong colours and flat areas of paint, lend themselves un usually well to lithographic treatment. His recognition of the fact that specialized lithographers would be able to carry out the conversion with greater fidelity to the originals than he himself could command is a proof of his respect for the technical exponents of lithographic art. And his own constant supervision of the work is a guarantee that this fidelity has in fact been attained. It should also be considered that what may seem a bold departure in lithography is already taken for granted in other fields. Most sculptors, for instance, only create a model, which is then executed on a larger scale by special craftsmen. Lindner's procedure produces works which are actually nearer to the original than this, for the dimensions remain unchanged, and months of work are devoted to capturing even the finest nuances on the stone. One would be tempted to regard this portfolio as an innovation with a big future were it not for the fact that the hand lithographers who have here given proof of their skills are today becoming few and far between. It might well be, in fact, that Richard Lindner's Furt City turns out to be not merely a valuable document in which an artist comments on his own times, but one of the last great achievements of hand litho graphy in the history of art.

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