Ewald Mataré: Weide XXVII B (Meadow), 1928. Color woodcut on Japan paper, 20,2 x 26,5 cm. One of 25 signed and titled proofs pulled by hand.
Like Edvard Munch, the sculptor Ewald Mataré uses the cutting up and individual coloring of the parts of a wooden plate to achieve a unique result in each print. Although printed, the idea of duplication is completely in the background in his works, in which there are only a few divergent prints of each motif. Since Mataré also concentrates on a few motifs, especially animal motifs, which are repeatedly modified, his woodcut work is as monumental as it is reduced and as ornamental as it is experimental.
