11 Jul 1893 - 07 Jan 1965
colour woodcut, black, blue, red, yellow and beige on ivory laid paper
11.5 x 9.7 cm blockmark (irreg.); 24.2 x 15.8 cm sheet
Signature & date
Signed and dated l.r. below blockmark, pencil "L.H. Mack 1921".
Gift of Olive Hirschfeld, the artist's widow 1970
Not on display
© Reproduced with permission
Shown in 6 exhibitions
Two masters of the Weimar Bauhaus: Lyonel Feininger, Ludwig Hirschfeld Mack:
- Art Gallery of New South Wales, Sydney 04 Jul 1974–19 Aug 1974
- National Gallery of Victoria [St Kilda Road], Melbourne 29 Aug 1974–06 Oct 1974
The edge of the world, Art Gallery of New South Wales, Sydney, 05 Jul 1985–25 Aug 1985
Prints in Germany 1880-1940, Art Gallery of New South Wales, Sydney, 28 Oct 1989–07 Jan 1990
Modernism 1900-1950: prints and drawings from the collection, Art Gallery of New South Wales, Sydney, 23 Jul 1994–25 Sep 1994
Bauhaus and Expressionism: German prints and drawings from the Art Gallery of New South Wales, New England Regional Art Museum, Armidale, 04 Mar 2005–15 May 2005
Modern Times, Powerhouse Museum, Ultimo, 01 Aug 2008–08 Feb 2009
Referenced in 5 publications
Prints in Germany 1880-1940, Sydney, 1989, 4.
Nicholas Draffin, Two masters of the Weimar Bauhaus: Lyonel Feininger, Ludwig Hirschfeld Mack, 'Ludwig Hirschfeld Mack', pg. 39-44, Sydney, 1974, 46 (illus.). cat.no. 42
Modernism 1900-1950: prints and drawings from the collection, Sydney, 1994.
John McDonald, The Sydney Morning Herald, 'Gloomy tale of cultural failure', pg. 18-19, Sydney, 18 Oct 2008-19 Oct 2008, 19. NOTE: General reference.
Andrew McNamara, Modern times: the untold story of modernism in Australia, '1 The Bauhaus in Australia: Interdisciplinary confluences in Modernist practices', pg. 2-15, Sydney, 2008, 10 (colour illus.). NOTE: Caption reads 'In 1921 Hirschfeld-Mack was a student at the Bauhaus. This work shows how the young artist has moved towards abstract composition, yet it also contains very discernible figuration, chiefly on the theme of music, which was one of Hirschfeld-Mack's enduring interests as he continually explored affinities between the visual arts and music.'