Posted By Dieselpunks.org on October 2, 2014
Let me present a Steam/Diesel era artist whose influence on advertising industry was (and remains) tremendous. A genius who stood at the side of Evil.
Ludwig Hohlwein was born on July 26, 1874 in Wiesbaden, Germany and enjoyed a privileged childhood in a prominent family.* While studying architecture at the Technical University in Munich from 1895 onwards, he made his first illustrations for the newspaper of the Academic Architects Association. He designed the association’s program booklets, invitations and book decorations.
After his studies in Munich and at the Dresden Academy he undertook study trips to London and Paris. Eventually he settled in Munich as an architect. In addition to the interiors of private homes, he took orders for decorating ocean liners.
In 1901 Ludwig married Leoni Dorr. They had two children. In this period he regularly takes part in exhibitions with his prints, watercolors and tempera paintings in the Munich Glass Palace. He developed his unique style early on in his career which showed little changes over the next forty years.
Stuhr’s Caviar (1909)
Hohlwein left architecture and started focusing on graphic design in 1906. He began as a poster artist, building up a self-taught style which was primarily influenced by the collage technique of the British Beggarstaff Brothers. He was very productive and quickly gained name and fame in the world of graphics and among important clients.
Wilhelm Mozer (1909)
Accelerating industrialization in the first decade of the twentieth century turned Germany into a fertile ground for the orientation of art towards industry. The combination of industry and art gets an ideal testing ground in the design of company posters and product advertisements.
Munich Zoo (1910)
With Art Nouveau we entered the early modern period rebelling against what is Victorian excess. In the German “plakatstil” (or poster-style) all ornaments and embellishments are further omitted. The simplification is even more extensive, leaving only taut lines. This leaves us with recognizable pictorial references and a persuasive communication, a style consistent with the commercial and technological demands of the age. This new type of poster soon became far-famed.