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are also increasingly organising themselves so that

they are better able to deal with fees, royalties and

contracts, or are using agents.

A few of the abovenamed illustrators belong to our

55 “masters”, who are presented with their latest

books here in Bologna. The artistic breadth here is

just as great as with the 30 illustrators whose ori­

ginal works are appearing in the exhibition. Quint

Buchholz, Klaus Ensikat, Reinhard Michl and Dieter

Wiesmüller all work with impressive graphic preci­

sion; Susanne Janssen and Henriette Sauvant com­

plete their illustrations with timeless acrylic and oil

techniques, Selda Soganci works with spruce wood,

while ATAK and Birte Müller work freely with pas­

tose techniques. Ali Mitgutsch and Rotraut Susanne

Berner are famous for their hidden object books

and, like Philip Waechter and Janosch, enjoy work­

ing minutely with tiny figures. A few of them, like

Wolf Erlbruch, the master of the minimalist stroke,

Vitali Konstantinov, Henriette Sauvant or cover

specialist Eva SchöffmannDavidov, are passing on

their knowledge to the next generation as university

lecturers and academics. Peter Schössow completes

his illustrations solely using the computer, Hans

Traxler handles his caricatures effortlessly in picture

books, paper engineer Antje von Stemm invents

new flap and folding techniques, Nikolaus Heidel­

bach takes pleasure in skilful provocation, Alexander

Steffensmeier spreads a spirit of cheerfulness – and

so the most diverse styles are also represented in our

book collection.

The diversity in the illustration scene testifies to

the developments in recent decades, and the contri­

bution of one publisher in particular: HansJoachim

Gelberg. In his children’s and young adult literature

programme for Beltz & Gelberg, founded in 1971,

technique: she constructs miniature stages out of

cardboard and then photographs them. Mehrdad

Zaeri has also recently explored this artistic practice

together with the photographer Christina Laube –

but with completely different results! And for Sybille

Schenker, the cutout silhouettes and ingeniously

layered pages in her books become a tangible, three­

dimensional work of art.

Our selection represents the graphic novel genre

through the work of Reinhard Kleist and Anke Kuhl,

who has produced her first children’s comic after

numerous picture books. She is not the only example

of how much an artist’s work can develop, year

by year, in their ongoing experimentation with new

forms and possibilities. Regardless of whether they

work humorously or seriously, realistically or im­

aginatively, whether they use digital or analogue

methods, all illustrators have one thing in common:

their pictures tell original stories that reach out

beyond the text, even sometimes contradicting the

text and thereby prompting new thoughts and ideas.

Illustrators in Germany are increasingly working

together in studio communities. The “Laboratory”

was one of the first of these, cofounded by Anke

Kuhl, Philip Waechter, Moni Port, Jörg Mühle and

others in an old dental laboratory in Frankfurt

am Main. Aljoscha Blau, Marion Goedelt and Sybille

Hein were members of the “Good Reasons” studio

in Berlin, Daniel Napp belongs to “Hafenstraße 64”

in Münster, Katja Gehrmann (and formerly also

Jens Rassmus and Eva Muggenthaler) is a member

of “Amaldi” in Hamburg: the list goes on. Shared

rent, creative exchange, the ability to pass work on

to one another – there are many reasons why illus­

trators choose to share studio spaces with each

other or with authors and translators. Illustrators