Sleeping Couple II [Schlafende II] c. 1926

Karl Hofer made this lithograph, Sleeping Couple II, using a rather direct method. The artist drew an image on a flat stone with a greasy crayon, then the printmaker treated the stone so that ink would adhere only to the drawn lines. Lithography occupies an interesting place between drawing and printmaking. Unlike etching or engraving, the surface of the stone isn’t incised. Yet the result is a multiple, with all the implications of reproducibility and dissemination that come with printmaking. Looking closely, you’ll see how Hofer exploited the possibilities of the medium. The figures have a monumental quality, yet are defined by the softest of shading. The lithographic crayon allowed him to build up tone gradually, creating a sense of volume with minimal means. The work has an intimate quality, which is interesting given that prints are often associated with mass production. Hofer’s choice of lithography suggests that he wanted his image to circulate widely, accessible to many. This speaks to the democratic potential of printmaking, and how artists can use this medium to engage with social issues. By focusing on both material and process, we gain a deeper understanding of the artwork's significance, expanding the boundaries of traditional art history.