Milliner (Putzmacherin II) 1922

This is "Milliner (Putzmacherin II)" by Karl Hofer, probably made with ink on paper. The image is built up from these very assertive and almost violent lines that intersect to create shapes and form. For me, it’s always interesting to see the process, like a map of the artist’s decision-making. There is a raw, spontaneous quality to the linework. It’s not precise or labored, but rather feels like the artist was trying to capture a fleeting impression of the scene. Look at the area around the milliner's shoulder where the lines thicken into a mass of black. It’s not just a shoulder; it’s a burst of energy, a dark, almost ominous presence. Hofer reminds me a little of Kathe Kollwitz, particularly in how both grapple with line as a vehicle for expressing the weight and density of human experience. There's an unresolved tension in this piece, a dance between representation and abstraction that keeps it alive and questioning. It’s the kind of art that stays with you, prompting you to see the world in new and unexpected ways.