Zoom in - A Closer Look at the Works of the Kleinmeister

The works of the Kleinmeister are captivating not only because of their colorfulness and the subjects they depict, but also because of the wealth of detail. If you look at them up close, it becomes clear how cleverly the minor masters worked to achieve different effects.

Johann Hürlimann after Gabriel Mathias Lory, Vue d'une partie du Lac de Thoune, 1822, colored aquatint.

First, however, as an introduction, a "normal" print: In the steel etching Thun, with the Bernese Alp from William Beattie's book Switzerland, the reflection of the city silhouette in the Aare is created by parallel lines.

Robert Wallis after William Henry Bartlett, Thun, with the Bernese Alps, 1834, steel etching.

In a similar way, Johann Jakob Biedermann depicted the reflection in Lake Zurich in the Vûe de Lachen with countless dots and strokes.

Johann Jakob Biedermann after Heinrich Rieter, Vûe de Lachen, sur le lac de Zurich, around 1795, colored outline etching.

In contrast, the reflection in the Vue de l'Isle de Schwanau by Gabriel Ludwig Lory appears perfectly calm.

Gabriel Ludwig Lory after Karl Ludwig Zehender, Vue de l'Isle de Schwanau, sur le Lac de Lowerz, from: Recueil de paysages suisses dessinés d'après nature, 1797/98, colored outline etching.

In comparison with the line technique of etching, the surface technique of the aquatint allowed contourless, i.e. blurred, reflections to be achieved. This can be observed particularly well in the sheet Chemin de Wesen á Ammon by Gabriel Mathias Lory.

Johann Hürlimann after Gabriel Mathias Lory, Chemin de Wesen à Ammon audessus du Lac de Wallenstadt, from: Souvenirs de la Suisse, 1829, colored aquatint.

In contrast to drawings and paintings, which are unique, there can be many copies of a print. However, if you look at them in detail, exciting differences often come to light.

Johann Hürlimann after Gabriel Mathias Lory, Vue du Port de Fluelen dans le Canton d'Uri, from: Souvenirs de la Suisse, 1829, colored aquatint.

This view of Flüelen was published by Gabriel Mathias Lory before Hans Felix Leuthold from Zurich took over the plate and republished it around 1850.

Johann Hürlimann after Gabriel Mathias Lory, Vue du Port de Fluelen dans le Canton d'Uri. from: Vues Suisses dessinées par G. Lory, et gravées, around 1850, colored aquatint.