Calendrier de la Guerre: April 1915
Year: 1916
Description: In January 1915, the Russians launched an offensive in the Carpathians. The objective was to reach the Hungarian plains and knock Austria-Hungary out of the war. In response, the German high command transferred six divisions south to aid its ally against the assault.
While this illustration depicts local joy as the Russians neared Ungvár in April 1915, the campaign was an extremely bloody affair. Almost two million men were lost on both sides after just four months of fighting. The campaign concluded unsuccessfully after Russian supplies and ammunition were depleted.
Provenance: Librarie Lutetia (A. Ciavarri, Directeur)
Calendrier de la Guerre: May 1915
Year: 1916
Description: When the war began, Italy was in an odd position. It was allied with participants on both sides of the conflict. It was bound to Germany and Austria-Hungary by terms of the Triple Alliance of 1882. It was also allied with France under terms of a secret alliance. To settle its conflicting obligations, Italy chose neutrality.
In May 1915, Italy was pursuaded to join the allies under the terms of the 1915 Treaty of London. In return for their participation, the Italians were rewarded with promises of territorial expansion. Unfortunately for Italy, many of those promised gains never materialized after the war.
Provenance: Librarie Lutetia (A. Ciavarri, Directeur)
Calendrier de la Guerre: June 1915
Year: 1916
Description: By June 1915, all illusions of a short war had ended. In the west, the conflict was characterized by an entrenched stalemate. In the east, the Russian offensives were halted at Tanneberg and Ungvár. More materials were necessary to change the tide.
In order to supply its armies, the the allies diverted most industrial output to the war effort. With so many men at the front, women and boys were recruited by the munitions industry to meet demand.
Although it was dangerous work, many women felt liberated by the experience. It made them feel useful; they were essential participants in the war effort. It also granted them freedom and wages that had previously been enjoyed by men. They would not go quietly back to the kitchen once the war was ended.
Provenance: Librarie Lutetia (A. Ciavarri, Directeur)
Calendrier de la Guerre: July 1915
Year: 1916
Description: This is the final print of the first folio. Hermann-Paul depicted the first year of the war in places and events. In this last print we find a soldier on leave in the company of a lovely woman. It's an enjoyable moment; they smile as they enjoy the late-spring sun. Yet the war intervenes. He is wounded and walks with a cane. Undoubtedly he will be returned to the front.
Provenance: Librarie Lutetia (A. Ciavarri, Directeur)
Calendrier de la Guerre: Folio Two
Year: 1916
Description: This is the cover for the second folio of Hermann-Paul's Calendrier de la Guerre. In the first part, he depicted the war in places and events. In this folio, he illustrates the war in personalities. For better or worse, this section is dominated by generals and admirals.
Provenance: Librarie Lutetia (A. Ciavarri, Directeur)
Calendrier de la Guerre: August 1915
Year: 1916
Description: In August 1915, Czar Nicholas II took personal command of the Russian armed forces against the wishes of nearly all his advisors. By doing so, he essentially tied the fate of his government to the mast of the war effort.
From the moment he took command, Nicholas removed trained professionals from military leadership roles and distanced himself from the seat of political power. This move proved disasterous for the czar, his family and the country.
Smouldering ruins and shocked faces provide foreshadow. Nicholas was still in power when Hermann-Paul produced this print but the Czar's move was criticized by the Western allies. That criticism was proven correct by the time this print was published. Revolution gripped Russia the following year.
Provenance: Librarie Lutetia (A. Ciavarri, Directeur)
Les Hymnes Allies
Year: 1917
Description: Color lithograph which celebrates the French-American alliance during the First World War. When the doughboys arrived in France, Gen. John Pershing was said to exclaim, "Lafayette, we have come!"
Provenance: Novel Essor
La Tradition
Year: 1917
Description: From the onset of his career until the outbreak of war, Hermann-Paul depicted the army in the harshest light. The French army unjustly sentenced Dreyfus to Devil's Island and refused to acknowledge the error. It ruled the colonies with force. Like many on the political left, Hermann-Paul could barely contain his contempt.
By 1917, the French army was the only thing that stood between him and German imperialism. Such changing circumstances forced a reassessment. As the Great War raged, H-P celebrated French military tradition from 1917 back to the Napoleonic period, a span the included the Dreyfus Affair and colonial expansion, two traditions he had formerly derided. When the war ended, so did his political commentary. His focus after 1918 was strictly fine art.
Provenance: Librairie Lutetia, Paris
L'Ange du Foyer
Year: 1919
Description: Woodcut, black ink on grey paper. The Angel of the Home is said to bring serenity and tranquility to the family. Hermann-Paul's angel startles the lady of the house...
Provenance: L'Estampe Originale
Femme Espagnole
Year: 1920
Description: Like many before and after him, Hermann-Paul was infatuated with the ladies of Spain. After the war, he spent a great deal of time south of the Pyrennes sketching people and landscapes that he would later execute in wood.
This two-color woodcut is printed in black and gray on Arches wove paper. It is part of an edition of 6, signed and numbered by the artist. This is just one form of a series of impressions in which the artist experimented with various colors and densities.
Provenance: Private Collection
- Jeffrey Fulmer, Lancaster, PA (2007)
- Catherine Burns Fine Art, Oakland, CA (2000)
- Venie Galerie de Chartres (2000)
- L'Estampe Originale
