Die Rekonvaleszentin. – Mann mit zwei Mädchen 1915

Editor: Here we have Ernst Ludwig Kirchner’s “The Convalescent. – Man with two Girls,” from 1915, a lithograph printed in ink. There’s a real rawness to the line work; it feels immediate and almost anxious. How should we read this piece? Curator: For me, the lithograph’s power resides in its production. Consider the historical moment: 1915, the first year of trench warfare. Kirchner, though not on the front lines yet, was grappling with his own psychological distress. The graphic immediacy you noted reflects that tension. Look at the frenetic energy of the lines and the evident physical labor invested into scraping away at the printing stone. This piece wasn't delicately painted; it was carved and wrestled into existence. Editor: So, you're focusing on the materiality of the print as a key to understanding Kirchner's state of mind and the broader cultural context? How does this raw approach relate to other portraiture happening at the time? Curator: Absolutely. Most portraits of this era, especially official ones, aimed for idealized representations. But here, Kirchner presents something viscerally human. The act of lithography itself—the grinding, the inking, the printing—mirrors the internal struggles of the time, making readily available copies for a large audience that could directly experience these distressing effects, turning mental anguish into mass produced image. He’s subverting traditional portraiture and offering a more honest depiction. The materiality is the message. Editor: It's fascinating to consider the artistic labor involved in conveying that feeling, and how it changes our reading. Thank you. Curator: And thank you. It is the tangible process that lends it such a striking psychological charge, an idea easily overlooked when merely considering subject and composition.