Wilhelm Busch - Knowledge

1361:(Eduards Traum) was released in 1891, composed of several small grouped episodes, rather than one linear storyline. The work received mixed reception. Joseph Kraus felt it was the peak of the life works by Busch, his nephews called it a masterwork of world literature, and the publisher of a critical collective edition spoke of a narrative style that is not found in contemporary literature. Eva Weissweiler saw in the play Busch's attempt to prove himself in the novella genre, believing that everything that angered or insulted him, and his accompanying emotional depths, are apparent in the story. The 1895 story 1102: 1426:, cottages in cornfields, cowherds, autumn landscapes, and meadows with streams. A particular feature is the use of red jackets, found in about 280 of 1000 Busch paintings and drawings. The muted or bright red coats are worn usually by a small figure, depicted from behind. The paintings generally represent typical villages. Portraits of the Kesslers, and a series of other portraits depicting Lina Weissenborn in the mid-1870s, are exceptions. A painting of a 10-year-old girl from a Jewish family at Lüthorst portrays her as serious, and having dark, oriental features. 719:"father" to his three young nephews. She would, however, have preferred to live in a more urban area for the education of her sons. For Fanny and her three sons, Busch could not replace their former idyllic life. The years around 1880 were psychically and emotionally exhausting for Busch, who was still reliant on alcohol. He would not invite visitors to Wiedensahl; because of this Fanny lost contact with her friends in the village, and whenever she questioned his wishes, Busch became furious. Even his friends Otto Friedrich Bassermann, 1669: 2037: 1386: 564: 1466: 158: 4517: 1024:. The childless Helen goes on a pilgrimage, accompanied by her cousin and Catholic priest Franz. The pilgrimage is successful, as later Helen gives birth to twins, who resemble Helen and Franz. Franz is later killed by a jealous valet, Jean, for his interest in female kitchen staff. The now widowed Helen is left with only a rosary, prayer book, and alcohol. Drunk, she falls into a burning oil lamp. Finally, Nolte coins a moral phrase, echoing the philosophy of Schopenhauer: 217: 2053: 778: 1853: 1783: 843: 2141:

drawing and atmosphere, and develop from a dramatic understanding of the whole story. All Busch's illustrated tales have a plot that firstly describes the circumstance, then a resulting conflict, then solution. Plots are developed through consecutive scenes, similar to film storyboards. Busch conveys an impression of movement and action, at times strengthened through a change of perspective. According to Gert Ueding, his depiction of movement is unique.

1169: 4536: 449: 750:. Busch, now aged 64, felt old. He needed spectacles for writing and painting, and his hands trembled slightly. In 1898, together with his aging sister Fanny Nöldeke, he accepted Bassermann's suggestion to move into a large parsonage in Mechtshausen. Busch read biographies, novels and stories in German, English and French. He organized his works and wrote letters and poems. Most of the poems from the collections 2148:(1865), which describes the life of a pianist who plays privately for an excited listener. Satirizing the self-publicizing artist's attitude and his overblown adoration, it varies from Busch's other stories as each scene does not contain prose, but is defined with music terminology, such as "Introduzione", "Maestoso", and "Fortissimo vivacissimo". As the scenes increase in tempo, each part of his body and 678: 298: 1400:. He regarded few of his paintings as finished, often stacking them one on top of the other in damp corners of his studio, where they stuck together. If the pile of paintings became too high, he burnt some in his garden. Since only a few remaining paintings are dated, categorizing them is difficult. His doubts regarding his skills are expressed in his choice of materials. His 1595:. With this technique there was no longer any danger that a wood engraver could change the character of his drawings. The originals were photographed and transferred onto a photosensitive zinc plate. This process allowed for the application of a clear, free pen-drawn ink line, and was a much faster printing method. Busch's use of zincography began with 1067:(Monsieur Jacques à Paris während der Belagerung von 1870). Busch biographer Michaela Diers declares the story "tasteless work, drawing on anti-French emotions and mocking the misery of French people in Paris, which is occupied by Prussian troops". It depicts an increasingly desperate French citizen who at first eats a mouse during the 1513:, that aim to teach the devastating consequences of bad behaviour. Busch did not assign value to his work, as he once explained to Heinrich Richter: "I look at my things for what they are, as Nuremberg trinkets , as Schnurr Pfeiferen whose value is to be found not in its artistic content, but in public demand (...)". 40: 656:

for Busch in her villa, later providing him with an apartment nearby. Motivated by Kessler's support and admiration, and introduction to the cultural life of Frankfurt, the 'Frankfurter Years' were the most artistically productive for Busch. At this time he and Otto discovered the philosophical works

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described Busch as the "first virtuoso" of illustrated stories. From the second half of the twentieth century he was considered the "Forefather of Comics". His early illustrations differ from those of the colleagues of Kaspar Braun. They show an increasing focus on protagonists, are less detailed in

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is a characteristic of his work: "Allez-oop-da" — Max and Moritz steal fried chickens with a fishing rod down a chimney — "reeker-rawker"; "at the plank from bank to bank"; "rickle-rackle", "hear the millstones grind and crackle"; and "tinkly-clinket" as Eric the cat rips a chandelier from

1588:. Sometimes the result was not satisfactory, leading Busch to rework or reproduce plates. The wood engraving technique did not allow for fine lines, which is why Busch's drawing, especially in his illustrated tales up to the mid-1870s, are boldly drawn, giving his work its particular characteristic. 1476:

Busch biographer Joseph Kraus divided his work into three periods. He points out, however, that this classification is a simplification, as some works by their nature may be of a later or earlier period. All three periods show Busch's obsession with German middle class life. His peasants are devoid

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charged Schauenberg with "vilification of religion and offending public decency through indecent writings" – a decision which affected Busch. Scenes of Antonius accompanied by a pig being admitted to heaven, and the devil being shown as a half-naked ballet dancer seducing Antonius, were deemed

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Busch had little contact with his natural parents during this period. At the time, the 165 km (103 mi) journey between Wiedensahl and Ebergötzen took three days by horse. His father visited Ebergötzen two to three times a year, while his mother stayed in Wiedensahl to look after the other

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defended Busch by stating that Jews are satirized only in three passages, of which the oldest is an illustration of a text by another author, published in 1860. He stated that Busch's Jewish figures are merely stereotypical, one of a number of stereotypes, such as the "limited Bavarian farmer" and

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In the first part of the trilogy, Knopp is depressed and will look for a wife. He visits his old friends and their wives, whom he finds in unenviable relationships. Still not convinced that the life of a bachelor is one for him, he returns home, and without further ado proposes to his housekeeper.

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children. The 12-year-old Busch visited his family once; his mother at first did not recognize him. Some Busch biographers think that this early separation from his parents, especially from his mother, resulted in his eccentric bachelorhood. In the autumn of 1846, Busch moved with the Kleines to

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Wilhelm Busch was born on 14 April 1832, the first of seven children to Henriette Kleine Stümpe and Friedrich Wilhelm Busch. His six siblings followed shortly after: Fanny (1834), Gustav (1836), Adolf (1838), Otto (1841), Anna (1843), and Hermann (1845); all survived childhood. His parents were

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allusion to Busch's undeveloped sexual life. Such graphic text and imagery in cartoon form was not unusual at the time, and publishers, the public, or censors found it not particularly noteworthy. Topics and motifs for his early work were derived from eighteenth- and nineteenth-century popular

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In both his illustrations and poems Busch uses familiar fables, occasionally appropriating their morality and stories, spinning them to illustrate a very different and comic "truth", and bringing to bear his pessimistic view of the world and human condition. While traditional fables follow the

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Busch lived with his sister Fanny's family after her husband Pastor Hermann Nöldeke's death in 1879. His nephew Adolf Nöldeke remembers that Busch wanted to move back to Wiedensahl with the family. Busch renovated the house, which Fanny looked after even though Busch was a rich man, and became

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ethic of the nineteenth century, in which he believed that humans are inherently evil and will never master their vices. Civilisation is the aim of education, but it can only mask human instincts superficially. Gentleness only leads to a continuation of human misdeeds, therefore punishment is

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In the estate of Busch there is the note, "Durch die Kinderjahre hindurchgeprügelt" (Beaten through the childhood years), however there is no evidence that Busch was referring to himself. He couldn't recall any beating from his father. His uncle Kleine beat him once, not with the conventional

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In 1873 Busch returned several times to Munich, and took part in the intense life of the Munich Art Society as an escape from provincial life. In 1877, in a last attempt to be a serious artist, he took a studio in Munich. He left Munich abruptly in 1881, after he disrupted a variety show and

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At the age of 19 Henriette Kleine married surgeon Friedrich Wilhelm Stümpe. Henriette became widowed at the age of 26, with her three children to Stümpe dying as infants. About 1830 Friedrich Wilhelm Busch, the illegitimate son of a farmer, settled in Wiedensahl after completing a business

285:, where 100 children were taught within a space of 66 m (710 sq ft). This probably through lack of space in the Busch family home, and his father's desire for a better education than the small local school could provide. The nearest convenient school was located in 498:. His courtship with a seventeen-year-old merchant's daughter, Anna Richter, whom Busch met through his brother Gustav, ended in 1862. Busch's biographer, Diers, suggests that her father probably refused to entrust his daughter to an almost unknown artist without regular income. 270:" was not his own. He described himself in autobiographical sketches and letters as sensitive and timid, someone who "carefully studied fear", and who reacted with fascination, compassion, and distress when animals were killed in the autumn. He described the "transformation to 668:

where his brother Gustav lived. The association with Johanna Kessler lasted five years, and after his return to Wiedensahl in 1872 they communicated by letter. This contact was interrupted between 1877 and 1891, after which it was revived with the help of Kessler's daughters.

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near the end of the eighteenth century and became the most widely used reproduction system for illustrations over the years. Busch insisted on first making the drawings, afterward writing the verse. Surviving preparatory drawings show line notes, ideas, and movement, and

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who later, despite becoming relatively prosperous, could not afford to educate all three sons. Busch's biographer Berndt W. Wessling suggested that Friedrich Wilhelm Busch invested heavily in the education of his sons partly because his own illegitimacy held significant

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Increasing economic success allowed Busch to visit Wiedensahl more frequently. Busch had decided to leave Munich, as only few relatives lived there and the artist association was temporarily disbanded. In June 1867 Busch met his brother Otto for the first time, in

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contains autobiographical accounts. Peter's enchantment by the witch Lucinde, of whom he regards himself a slave, is possibly in reference to Johanna Kessler. Peter, like Busch, returns to his birthplace. It is similar in style to the romantic travel story that

228:, where in 1817 he bought a thatched half-timbered house where Wilhelm Busch was to be born 15 years later. Amalie Kleine, Johann's wife and Wilhelm Busch's grandmother, kept a shop where Busch's mother Henriette assisted while her two brothers attended high 796:. Busch's satires typically did not address political questions, but exaggerated churchiness, superstition, and philistine double standards. This exaggeration made at least two of the works historically erroneous. The third illustrated satire, 2020:(Was mich betrifft) includes basic facts, and some description of his troubles; analysts see within the essay a deep identity crisis. Busch revised his autobiography over the following years. The last such essay was published under the title, 714:

in a "horrible mood". According to several people at the time, Busch's failure to find a wife was responsible for his conspicuous behaviour. There is no evidence that Busch had a close relationship with any woman after that with Anderson.

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hindered self-criticism. He refused invitations to parties, and publisher Otto Bassermann sent him to Wiedensahl to keep his alcohol problem undetected from those around him. Busch was also a heavy smoker, resulting in symptoms of severe

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were slow, but sales figures improved after the 1868 second edition. Overall there were 56 editions and more than 430,000 copies sold up to Busch's death in 1908. Despite at first being ignored by critics, teachers in the 1870s described

1265:(Maler Klecksel) (1884), both of which focus on artistic failure, and indirectly his own failure. Both stories begin with a preface, which, for biographer Joseph Kraus, were bravura pieces of "Komische Lyrik" — German comic poetry. 472:

were not met. His life became aimless; there were occasional return visits to Lüthorst, but contact with his parents had been broken off. In 1857 and 1858, as his position seemed to be without prospects, he contemplated emigration to

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is awarded annually for satirical and humorous poetry. The Wilhelm Busch Society, active since 1930, aims to "(...) collect, scientifically revise, and promote Wilhelm Busch's works with the public". It supports the development of

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stalks, this for stuffing cow hairs into a village idiot's pipe. Weissweiler observes that Busch probably saw canings at his village school, where he went for three years, and quite possibly he also received this punishment. In

441:, as Busch noted the narrative background to tales and the idiosyncrasies of storytellers. Busch tried to release the collections, but as a publisher could not be found at the time, they were issued after his death. During the 207:

help maintain his legacy. The 175th anniversary of his birth in 2007 was celebrated throughout Germany. Busch remains one of the most influential poets and artists in Western Europe, being called the "Forefather of Comics".

1120:(Critique of the Heart), wanting to appear more serious to his readers. Contemporary reception for the collection of 81 poems was mainly poor; it was criticized for its focus on marriage and sexuality. His long-time friend 701:

corresponded with Busch. More than fifty letters were exchanged between January and October 1875 in which they discussed philosophy, religion, and ethics. Although only one Anderson letter survives, Busch's letters are in

494:(Flying Leaves), proposed a collaboration with Busch. This association provided Busch with sufficient funds to live. An existing self-caricature suggests that at this time he had an intense relationship with a woman from 1838:

Busch illustrates a form of nonviolent progressive education that fails in one scene, and caning in the following scene; the canings that ensued indicate Busch's pessimistic picture of life, which has its roots in the

2207:: Up to the time of his death it was translated into English, Danish, Hebrew, Japanese, Latin, Polish, Portuguese, Russian, Hungarian, Swedish, and Walloonian. Several countries banned the story – about 1929 the 367:

suspects that Kleine played a major role, and that other possible causes were Busch's friendship with an innkeeper, Brümmer, political debates in Brümmer's tavern, and Busch's reluctance to believe every word of the

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The effect of Busch's illustrations is enhanced by his forthright verse, with taunts, derision, ironic twists, exaggeration, ambiguity, and startling rhymes. His language had an influence on the humorous poetry of

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run around. The penultimate scene again depicts the pianist's movements, with score sheets floating above the grand piano on which musical notes are dancing. Over the years graphic artists have been fascinated by

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Busch's birth date was long thought to be 15 April 1832, and this is the date given in many biographies. The error was first noted by historian Carol Gateway in 2000, by checking the original birth certificate.

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criticize the way of life of the Kesslers. Johanna Kessler was married to a much older man and entrusted her children to governesses and tutors, while she played an active role in the social life of Frankfurt.

882:. Schauenburg was acquitted on 27 March 1871 in Offenburg, but in Austria distribution of the satire was prohibited until 1902. Schauenburg refused to publish further Busch satires to avoid future accusations. 293:

at Ebergötzen, while Busch was lodged with an unrelated family. Kleine and his wife were responsible and caring, exercised a substitute parental role, and provided refuge for him in future unsuccessful times.

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Busch studied for nearly four years at Hanover, despite initial difficulties in understanding the subject matter. A few months before graduation he confronted his parents with his aspiration to study at the

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describes how humans behave like animals when drunk. Busch's biographer Weissweiler felt the story was only superficially funny and harmless, but was a study on addiction and its induced state of delusion.

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in June 1851, where, to his disappointment at not being admitted to the advanced class, he entered preparatory classes. Busch's parents had his tuition fees paid for one year, so in May 1852 he traveled to

1503:. Others concern recalcitrant children or animals, or make the great or significant foolish and ridiculous. The early stories follow the pattern of children's books of orthodox education, such as those by 335:, and published essays and textbooks on the subject, – Busch demonstrated his knowledge of bee-keeping in his future stories. Drawing, and German and English poetry, were also taught by Kleine. 316:. A small pencil portrait by the 14-year-old Busch depicted Bachmann as a chubby, confident boy, and showed similarities with Max. Busch portrayed himself with a "cowlick", in the later "Moritzian" 1821:, where it is shown as an almost sexual pleasure in applying punishment. Beatings and humiliation are found in his later work too; biographer Gudrun Schury described this as Busch's life-motif. 636:. Otto was working as a tutor to the family of a wealthy banker and industrialist, Kessler. Busch became friends with Kessler's wife, Johanna, a mother of seven and an influential art and music 2016:, which contained many biographical falsehoods – as a response to this, Busch wrote two articles in the same newspaper. Published in October and December 1886, the autobiographical essay 1797:

in Busch's works. Sharp pencils pierced through models, housewives fall onto kitchen knives, thieves are spiked by umbrellas, tailors cut their tormentors with scissors, rascals are ground in

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Since then, on the anniversary dates of his birth and death, he has been celebrated frequently. During the 175th anniversary in 2007, there were numerous re-publications of Busch works.

363:. Busch's biographers are not in agreement as to why his Hanover education ended; most believe that his father had little appreciation of his son's artistic inclination. Biographer 1249:

According to Wessling, Busch became skeptical of marriage after writing the story. To Marie Anderson he wrote: "I will never marry(...) I am already in good hands with my sister".

1071:, then amputates his dog's tail to cook it, and finally invents an explosion pill which kills his dog and two fellow citizens. Weissweiler believes that Busch wrote with irony. In 169:(14 April 1832 – 9 January 1908) was a German humorist, poet, illustrator, and painter. He published wildly innovative illustrated tales that remain influential to this day. 1572:. Not only was it hard work, but the quality of the printing block was crucial. Everything left white on the block, around Busch's drawn lines, was cut from the plate by skilled 698: 480:

Busch made contact with the artist association, Jung München (Young Munich), met several notable Munich artists, and wrote and provided cartoons for the Jung München newspaper.

591:. Busch could choose themes, although Richter raised some concerns regarding four suggested illustrated tales that were proposed. However, some were published in the 1864 as 4223: 172:

Busch drew on the tropes of folk humour as well as a profound knowledge of German literature and art to satirize contemporary life, any kind of piety, Catholicism,

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attacked Daelen's biography and called him the "envious eunuch of the desiccated Philistine". After reading this biography Johannes Proelß posted an essay in the

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by educators and psychologists. Tails that are burnt, pulled off, trapped, stretched, or eaten is seen by Weissweiler as not aggression against animals, but a

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Notwithstanding the hiatus after moving from Frankfurt, the 1870s were one of Busch's most productive decades. In 1874 he produced the short illustrated tale,

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In the autumn of 1841, after the birth of his brother Otto, Busch's education was entrusted to the 35-year-old clergyman, Georg Kleine, his maternal uncle at

2173:(1872). Job fails to answer rather easy questions set by twelve clergy, who shake their heads in synchronicity. Each scene is a movement study that presages 1059:(Father Filucius) is the only illustrated satire of this period suggested by the publisher. Also aimed at anti-Catholic taste and buyers, it criticizes the 510: 437:, legends, songs, ballads, rhymes, and fragments of regional superstitions. Busch's biographer, Joseph Kraus, saw these collections as useful additions to 2273:(Thomas Ahlers, Volker Dehs, 1987). These are shaped by observations of the First and Second World Wars, while the original is a moral story. In 1958 the 761:

He developed a sore throat in early January 1908, and his doctor detected a weak heart. During the night of 8–9 January 1908 Busch slept uneasily, taking

652:-based group of painters. While his humorous drawings did not appeal to her, she supported his painting career. At first she established an apartment and 4044: 2137: 1758:, where they underline the pedantic and solemn words with which teacher Bokelmann educates his pupils. They create tension in the Sourdough chapter from 1624:. The contrast in his later work between comic illustration and its seemingly serious accompanying text – already demonstrated in his earlier 2045: 1696:. Busch uses names he gives characters to describe their personality. "Studiosus Döppe" (Young Bumbel) has little mental ability; "Sauerbrots" ( 1365:(Der Schmetterling) parodies themes and motifs and ridicules the religious optimism of a German romanticism that contradicted Busch's realistic 327:, his lessons not held in contemporary language, and it is not known for certain all subjects Busch and his friend were taught. Busch did learn 2057: 1875:), and what constituted "constructive" creative production capital. The "good", "native", and "German" manufacturer was praised by Antisemitic 599:, waiving any fees. Richter rejected the manuscript as sales prospects seemed poor. Busch's former publisher, Braun, purchased the right to 464:. This request caused a rift with his father who, however, eventually funded this move; – see for comparison Busch's illustrated story of 4577: 1217:

The following marriage proposal is, according to Busch biographer Joseph Kraus, one of the shortest in the history of German literature:

384:. According to Bush's nephew Hermann Nöldeke, his mother supported this inclination. His father eventually acquiesced and Busch moved to 3903: 2071:

praised the poet and artist, whose "exquisite works are full of genuine humour and are everlasting for the German people". The Austrian

1683:, part of contemporary common usage, give the impression of weighty wisdom, but in his hands become only apparent truths, hypocrisy, or 1495:. These stories are different in theme from works of his earlier period. The life of his characters start well, but disintegrate, as in 1871:, which in the 1880s became a broad undercurrent. These criticisms saw a separation of capital into what was construed as "raffendes" ( 1449:, and photographs, as an aid. The landscapes from the mid-1880s show the same broad brushstrokes as seen in the paintings of the young 1441:, whose themes were farming and inn life, rustic dances, card players, smokers, drunkards, and rowdies. He dismissed the techniques of 828:

is a series of seven illustrated stories concerning the mischievous antics of two boys, who are eventually ground up and fed to ducks.

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support measuring 63 centimetres (25 in) by 53 centimetres (21 in), one of his largest paintings. Most of his works, even

857:(Der Heilige Antonius von Padua) Busch challenges Catholic belief. It was released by the publisher Moritz Schauenburg at the time 312:. Both became friends, according to Busch the strongest friendship of his childhood. This friendship was echoed in the 1865 story, 1457:, which would have allowed him to do so; it was not until near the end of his life that he presented his paintings to the public. 644:

at her villa, frequented by artists, musicians, and philosophers. She believed Busch to be a great painter, a view supported by

4677: 1157:(Herr und Frau Knopp) (1876), and "Julie" (Julchen) (1877). The antagonists of the trilogy are not pairs of nuisances as with 4682: 4607: 4592: 4465: 4446: 4427: 4389: 4351: 4332: 4231: 3764: 2274: 2366:

Galway, Carol (2000). "Wann hatte Wilhelm Busch wirklich Geburtstag?" [When was Wilhelm Busch's birthday, really?].

2126:. Memorials are located in places he lived, including Wiedensahl, Ebergötzen, Lüthorst, Mechtshausen, and Hattorf am Harz. 394: 117: 4494:

Spiegel Online's version in German of the Busch work "Hans Huckebein", origin for the Focke-Wulf Ta 183 jet fighter's name

421:. The pictures aroused his interest, but made him doubt his own skills. Eventually, in 1853, after suffering heavily from 4637: 331:

from his uncle, although science lessons might have been more comprehensive, as Kleine, like many other clergymen, was a

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Wilhelm Busch: Der Protestant, der trotzdem lacht. Philosophischer Protestantismus als Grundlage des literarischen Werks

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issued stamps depicting the Busch character Hans Huckebein – itself the inspiration for the nickname of the never-built

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Caning, a common aspect of nineteenth-century teaching, is prevalent in many of his works, for example Meister Druff in

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called it "very serious, heartfelt, charming poems". Dutch writer Marie Anderson was one of few people who enjoyed his

505:, which are almost forgotten today, were unsuccessful. Up to 1863 he worked on two or three major works; the third was 401:. He led his parents to believe that the academy was less regimented than Düsseldorf, and had the opportunity to study 266:

The young Wilhelm Busch was a tall child, with a delicate physique. The coarse boyishness of his later protagonists, "

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of sorts, were not particularly successful. There was a dispute between Busch and Kremplsetzer during the staging of

3798: 2024:(Von mir über mich), which includes fewer biographical details and less reflection on bitterness and amusement than 1883:, who opposed what he saw as "'rapacious' 'greedy', 'blood-sucking', 'Jewish' financial capitalism in the form of ' 1762:, through the alternation of trochees and dactyls. Busch often synchronizes format and content in his poems, as in 4000: 1700:) would not be of a cheerful disposition; and "Förster Knarrtje" (Forester Knarrtje) could hardly be a socialite. 769:

as a tranquilizer. Busch died the following morning before his physician, called by Otto Nöldeke, came to assist.

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Busch did not remain in Frankfurt. Toward the end of the 1860s he alternated between Wiedensahl and Lüthorst, and

240:. He took over the Kleine shop in Wiedensahl, which he completely modernised. He married Henriette Kleine Stümpe. 4687: 4572: 4511: 1801:, drunkards burn, and cats, dogs, and monkeys defecate while being tormented. Frequently Busch has been called a 588: 869:

that was harshly criticized by Protestants. The publisher's works were heavily scrutinized or censored, and the

4667: 4652: 4627: 4622: 3349:"... und damit gut!" Wilhelm Buschs Märchen "Der Schmetterling" als Trümmerfeld der "Taugenichts"-Romantik 893:, which was soon translated into other European languages, satirizes religious hypocrisy and dubious morality: 20: 4617: 4602: 1844:

required, even if one retains an unrepentant character, becomes a trained puppet, or in extreme cases, dies.

1802: 4587: 587:, as his new publisher – Richter's press up to that time was producing children's books and religious 469: 398: 121: 3917: 2349: 2008:, and uncritically quoting correspondences. Even Busch and his friends were embarrassed. Literary scholar 1628: – is shown in Widow Bolte's mawkish dignity, which is disproportionate to the loss of her chickens: 4062: 2394: 360: 308:

Kleine's private lessons for Busch also were attended by Erich Bachmann, the son of a wealthy Ebergötzen

109: 381: 113: 4657: 2072: 2068: 1504: 4632: 4582: 2238: 2009: 2005: 1545:, who commissioned Busch's first illustrations, had established the first workshop in Germany to use 1397: 1165:(Hans Huckebein, der Unglücksrabe). Without pathos, Busch makes Knopp become aware of his mortality: 1013:" – shows similarities with Johanna Kessler's husband, who was uninterested in art and culture. 414: 2215:

to teens under eighteen. By 1997 more than 281 dialect and language translations had been produced.

889:(Die fromme Helene), was published by Otto Friedrich Bassermann, a friend whom Busch met in Munich. 3495:

Symbol und Wirklichkeit im Werk Wilhelm Buschs – Die versteckten Aussagen seiner Bildergeschichten.

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Symbol und Wirklichkeit im Werk Wilhelm Buschs – Die versteckten Aussagen seiner Bildergeschichten

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Some early "Moritzian" comic strips were heavily influenced by Busch in plot and narrative style.

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From 1885 until his death in 1908 his work was dominated by prose and poems. The 1895 prose text

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subsequently made a scene through the effects of alcohol. The 1878 nine episode illustrated tale

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criticizes the bourgeois art connoisseur who believes the worth of art is gauged by its price.

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typical philosophy of differentiating between good and evil behaviour, Busch combines both.

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During the Frankfurt period Busch published three self-contained illustrated satires. Their

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Johann Georg Kleine, Wilhelm Busch's maternal grandfather, settled in the small village of

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and satirical artwork as a recognized branch of the visual arts. It is an advocate of the

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silver coin faced with his portrait. Hanover declared 2007 the "Wilhelm Busch Year", with

1101: 490: 8: 3977: 2114: 2013: 1068: 870: 866: 658: 540: 289:, 20 km (12 mi) from Wiedensahl. Kleine, with his wife Fanny Petri, lived in a 200: 90: 3351:. (In German) In: Aurora. Jahrbuch der Eichendorff-Gesellschaft, 68/69 (2010), pp. 67–78 1491:

The period from 1866 to 1884 is characterized by his major illustrated stories, such as

4642: 2282: 2174: 2107: 1840: 1684: 1617: 1413: 691: 686: 649: 229: 68: 4547: 1996:, also a writer, echoed Busch's anti-Catholic bias, putting him on equal footing with 1445:

with its strong preoccupation with the effect of light, and used new colours, such as

4502: 4461: 4442: 4423: 4404: 4385: 4366: 4347: 4328: 4309: 4290: 4103: 4019: 3781: 3760: 3756: 3498: 2375: 2099: 2001: 1997: 1872: 1453:. Busch refused to exhibit work even though he was befriended by many artists of the 1450: 1404:

was usually chosen carelessly. Sometimes he used uneven cardboard or poorly-prepared

1173: 1080: 743: 720: 641: 535:, leading to the removal of Busch's name from the production; the piece was renamed, 519: 433:

Busch was ravaged by disease, and for five months spent time painting and collecting

406: 183:

His mastery of drawing and verse became deeply influential for future generations of

4304:

Busch, Wilhelm (1982). Bohne, Friedrich; Meskemper, Paul; Haberland, Ingrid (eds.).

1437:

after visiting a Busch memorial exhibition in 1908. A strong influence on Busch was

623:

as frivolous and an undesirable influence on the moral development of young people.

4521: 4100:

Schema und Variation — Untersuchungen zum Bildergeschichtenwerk Wilhelm Buschs

4067: 3946:(in German). Wilhelm Busch – Deutsches Museum für Karikatur & Zeichenkunst 2399: 2169:, stating how well he captured time and movement. Similar pioneering scenes are in 1939:

the "Prussian tourist". Joseph Kraus shares the same view, and uses a couplet from

1935: 1060: 1006: 789: 747: 3753:

Die nervöse Großmacht: Aufstieg und Untergang des deutschen Kaiserreichs 1871–1918

2129:

On 15 April 2012, Google celebrated Wilhelm Busch’s 180th Birthday with a doodle.

1609: 4541: 4227: 2162: 2064: 1880: 1754:, where one accented syllable is followed by two unaccented syllables, as in his 1751: 1438: 1282: 604: 410: 364: 4488: 3980:[Memorials] (in German). Deutsches Museum für Karikatur und Zeichenkunst 2350:""Dieses war der erste Streich, Doch der zweite folgt sogleich" - Wilhelm Busch" 2036: 685:

Biographer Weissweiler does not dismiss the possibility that Busch's increasing

665: 4498: 3748: 1613: 1546: 1530: 1446: 1401: 1385: 1370: 1274: 1116:

Busch did not write illustrated tales for a while, but focused on the literary

815: 267: 195: 143: 2226:

that it was described as a pirate edition. The true "Moritzian" recreation is

1419:

Many pictures depict the countryside at Wiedensahl and Lüthorst. They include

4556: 2379: 2233: 2190: 2095: 1993: 1976:

Although Gernhardt felt that Jews for Busch were alien, the Jewish conductor

1864: 1668: 1554: 1509: 1454: 1442: 1270: 422: 260: 255: 94: 2203:

Busch's greatest success, both within Germany and internationally, was with

1992:(About Wilhelm Busch and His Importance), was released in 1886. The painter 1377:. Both were not popular amongst readers, because of their unfamiliar style. 385: 282: 3943: 2286: 2177:'s photography. Muybridge began his work in 1872, not released until 1893. 2158: 1977: 1868: 1688: 1542: 1522: 1366: 858: 724: 481: 442: 344: 290: 173: 72: 2052: 1465: 563: 286: 216: 157: 2251: 1592: 1559: 1269:

ridicules the bourgeois amateur poet circle of Munich, "The Crocodiles" (

1121: 1076: 831: 793: 777: 742:

Busch stopped painting in 1896 and signed over all publication rights to

571:

Between 1860 and 1863 Busch wrote more than one hundred articles for the

528: 425:, he abandoned his Antwerp studies and returned penniless to Wiedensahl. 2102:

German jet fighter design of 1945 – and the German Republic minted a 10

1477:

of sensitivity and village life is marked by a vivid lack of sentiment.

457: 340: 2119: 2084: 1888: 1884: 1852: 1782: 1569: 1430: 1420: 1278: 1021: 842: 711: 703: 434: 418: 402: 225: 131: 64: 4482: 4420:

Ich wollt, ich wär ein Eskimo. Das Leben des Wilhelm Busch. Biographie

3964: 2087:(around €200,000 or $ 270,000), which was donated to two hospitals in 1980:

befriended him, suggesting that Busch had a slight bias towards Jews.

3778:

Antisemitismus und völkische Bewegung im Königreich Sachsen 1879–1914

1798: 1767: 1697: 1585: 1573: 1434: 1429:

The influence of Dutch painters is clearly visible in Busch's work. "

1168: 874: 637: 633: 495: 373: 332: 324: 4403:(in German). Frankfurt on the Main: Europäische Hochschulschriften. 1109: 878:

controversial. The district court of Düsseldorf subsequently banned

758:

were written in 1899. The following years were eventless for Busch.

4530: 4526: 2185: 2166: 1867:

led to growing criticism of high finance and the spread of radical

1747: 1566: 1565:

Then the draft was transferred by pencil on white-primed panels of

1408:-wood boards. One exception is a portrait of Johanna Kessler, on a 1396:

Busch felt his painting skills could not compete with those of the

766: 595:, proving a failure. Busch then offered Richter the manuscripts of 506: 502: 438: 4306:

Sämtliche Briefe. Kommentierte Ausgabe in 2 Bänden / Wilhelm Busch

1373:. Its prose is more stringent in narrative style when compared to 2088: 1806: 1704: 1680: 1577: 1088: 762: 736: 653: 608: 580: 390: 271: 177: 1087:(Der Geburtstag oder die Partikularisten) he satirizes the anti- 614:

For Braun the manuscript was fortuitous. Initially the sales of

448: 4308:(in German). Hannover: Wilhelm Busch Association and Schlüter. 3965:

Homepage of the Deutsches Museum für Karikatur und Zeichenkunst

2208: 2149: 1830: 1826: 1794: 1500: 1423: 1409: 1405: 801: 732: 474: 461: 309: 237: 184: 98: 1810:

literature, the gruesome endings of which he often softened.

862: 707: 677: 607:, corresponding to approximately double the annual wage of a 369: 187:

artists and vernacular poets. Among many notable influences,

2063:

Busch celebrated his 70th birthday at his nephew's house in

1591:

From the mid-1870s Busch's illustrations were printed using

1580:

and the potential tonal values are of almost the quality of

1529:. Busch plays with its traditional forms, motifs, pictures, 297: 274:" as "dreadfully compelling", leaving a lasting impression; 2103: 1887:' and 'usurers'". Busch was thought to have embraced those 1128:, and she even planned to publish it in a Dutch newspaper. 275: 16:

German humorist, poet, illustrator, and painter (1832-1908)

4224:"Top 10 Long-Running Comic Strips / The Katzenjammer Kids" 4102:. Europäische Hochschulschriften, Frankfurt am Main 1998, 3497:, Europäische Hochschulschriften, Frankfurt am Main 2002, 1005:

The character of Mr. Schmock – the name based on the

710:

in October 1875, after which he returned to Bassermann at

456:

After Busch had spent six months with his uncle Kleine at

3904:"Wilhelm Busch wird mit 10-Euro-Silbergedenkmünze geehrt" 1075:(1864), a fictional family story that takes place in the 4049:

Comics – Vom Massenblatt ins multimediale Abenteuer

2267:

Sigismund und Waldemar, des Max und Moritz Zwillingspaar

2079:. Verlag Braun & Schneider, who owned the rights of 848:

Monsieur Jacques à Paris während der Belagerung von 1870

800:(Pater Filucius), described by Busch as an "allegorical 648:, a leading painter of the Kronberger Malerkolonie, the 4458:

Wilhelm Busch. Der lachende Pessimist. Eine Biographie

3154: 3152: 2884: 2882: 2110:

featuring Busch works erected within the city centre.

1943:(Die Haarbeutel), in which profit-seeking people are: 1261:(Balduin Bählamm, der verhinderte Dichter) (1883) and 694:

in 1874. He began to illustrate drunkards more often.

4441:(in German). Frankfurt on the Main / Leipzig: Insel. 2722: 2720: 2657: 2655: 2483: 2481: 1750:

strengthens the humour of the lines. Busch also uses

1576:. Wood engraving allows a finer differentiation than 1433:

diluted and shortened(...) but still Halsian", wrote

731:

were not welcome at the house; he would meet them in

583:

publisher Heinrich Richter, the son of Saxon painter

2056:

Museum Wilhelm-Busch-Haus in Busch's former home in

1793:

It is not unusual to see thrashing, tormenting, and

501:

In his early Munich years Busch's attempts to write

405:. At Antwerp he saw for the first time paintings by 3149: 2879: 220:

The house in which Busch was born, Wiedensahl, 2008

2717: 2652: 2478: 2285:in North Rhine-Westphalia, the same year that the 2180: 1553:technique was developed by English graphic artist 1499:(Maler Klecksel); someone sensitive who becomes a 4001:"14 April: Remembering Wilhelm Busch on Birthday" 3906:(in German), Pressedienst Numismatik, 7 June 2007 1065:Monsieur Jacques à Paris during the Siege of 1870 4554: 4544:Wilhelm Busch collection at Zeno.org (in German) 4489:Collection of known works (Projekt Gutenberg-DE) 4460:(in German). Cologne: Kiepenheuer & Witsch. 2687: 2685: 2259:Lies und Lene; die Schwestern von Max und Moritz 555: 460:, he expressed a desire to continue to study in 4439:Wilhelm Busch. Das 19. Jahrhundert en miniature 4060: 3915: 2392: 1480:From 1858 to 1865 Busch chiefly worked for the 1460: 1083:and calls for a German empire in its place; in 4221: 2854: 2852: 2295:used them to caricature black labour. In 1969 1777: 3796: 2682: 2250:is regarded as one of the oldest, continuous 2075:(Pan-German Association) repealed the ban on 1033:Das Gute — dieser Satz steht fest — 4346:(in German). Reinbek near Hamburg: Rowohlt. 2361: 2359: 2321: 2319: 2257:German "Moritzian"-inspired stories include 1891:. Two passages are often underlined, one in 1703:Many of his picture stories use verses with 4455: 2998: 2996: 2950: 2948: 2849: 1257:Among Busch's last works were the stories, 1131: 928:and strives by frequent didactic incursion, 4051:, p. 14. Rowohlt Taschenbuch Verlag, 1996. 484:, who published the satirical newspapers, 38: 4398: 4208: 4206: 3967:(in German). Retrieved on 14 January 2013 3372: 3370: 3368: 3366: 2356: 2344: 2342: 2316: 924:Or: A good person likes to pay attention, 2993: 2945: 2815: 2813: 2714:Busch, Bohne, Meskemper, Haberland, p. 6 2184: 2051: 2035: 1851: 1781: 1667: 1471:Diogenes und die bösen Buben von Korinth 1464: 1384: 1167: 1100: 1094: 841: 822:Eine Bubengeschichte in sieben Streichen 776: 676: 562: 447: 296: 236:apprenticeship in the nearby village of 215: 3920:[At Home with Max and Moritz]. 1650:Flow, my tears, then, scoring, burning, 1304:Steigt mit dem Preise auch die Achtung. 355:In September 1847 Busch began studying 4555: 4436: 4417: 4203: 3890: 3888: 3363: 2701: 2699: 2697: 2365: 2339: 2261:(Hulda Levetzow, F. Maddalena, 1896), 2222:(1896), borrowed so much content from 2132: 1990:Über Wilhelm Busch und seine Bedeutung 1341:That lattice-work of patterned spaces! 1333:I squint, I nod, I back-step: "Grand!" 1237:And she smiles: "With pleasure, Sir!" 1226:"Mädchen", spricht er, "sag mir ob..." 1189:Ach — und endlich auch durch mich 1091:sentiments of his Hanover countrymen. 930:after his improvement and conversion. 921:To his improvement through contrition. 919:And sees, through frequent admonition, 4341: 4322: 4303: 4284: 2810: 1962:Most often wenches, Christians, Jews, 1954:Die dich ganz schrecklich überlisten. 1390:Waldlandschaft mit Heufuder und Kühen 1300:Seh ich zunächst mal nach dem Preise, 1172:Wilhelm Busch in 1878, photograph by 980:Spare the Stage, whose thrills excite 468:. Busch's expectations of the Munich 445:Busch was known as an "ethnic seer". 4422:(in German). Berlin: Aufbau-Verlag. 4379: 4360: 4061:Töpper, Stephan (22 December 2007). 3998: 3780:, V&R unipress Göttingen, 2004, 3759:17240, Frankfurt on the Main, 2006, 2393:Töpper, Stephan (22 December 2007). 2352:(in German). Archion. 14 April 2022. 1952:Vornehmlich Juden, Weiber, Christen, 1946: 1898: 1631: 1339:The thrill transmitted as one traces 1308:Ich blinzle, nicke: "Ah, scharmant!" 1292: 1235:"Wench," he stammers, "if I were..." 1220: 1204:Shall be cancelled and crossed off. 1179: 1027: 950: 896: 211: 3885: 2694: 2242:from 1897. It was published though 1964:Who would much sooner see you lose 1829:stick, but symbolically with dried 1652:All my comfort, hope, and yearning, 1329:High price engenders high respect.) 1298:Mit scharfen Blick nach Kennerweise 1228:Und sie lächelt: "Ja, Herr Knopp!" 1044:Is but the bad, one leaves undone. 917:For the correction of his neighbor, 908:Nach seiner Beß'rung und Bekehrung 804:", has greater historical context. 640:of Frankfurt. She regularly opened 543:set several of his poems to music. 278:nauseated him throughout his life. 254:ambitious, hard-working and devout 13: 4578:People from the Kingdom of Hanover 4289:. University of California Press. 3999:Desk, OV Digital (14 April 2023). 2144:One of Busch's notable stories is 1919:Round of shoulder, nose, and knee, 1746:The overweighting of the stressed 1335:What feeling, both naive and deep! 1149:, about the life of Tobias Knopp: 1085:The Birthday or the Particularists 1042:The good (I am convinced, for one) 1035:Ist stets das Böse, was man läßt! 989:With a blithe and thoughtless air, 906:Und strebt durch häufige Belehrung 904:Ob auch der andre was Böses macht; 517:, a romantic opera in three acts, 343:, where, on 11 April 1847, he was 14: 4699: 4476: 3916:Lammert, Andrea (15 April 2007). 2640:Weissweiler, pp. 43–44 2263:Schlumperfritz und Schlamperfranz 2211:school board prohibited sales of 1639:All mein Hoffen, all mein Sehnen, 1637:Fließet aus dem Aug', ihr Tränen! 902:Ein guter Mensch gibt gerne acht, 807: 792:themes proved popular during the 488:(Picture Sheets from Munich) and 4673:19th-century German male writers 4613:20th-century German male artists 4598:19th-century German male artists 4534: 4264: 4255: 4246: 4215: 4194: 4185: 4176: 4167: 4158: 4149: 4140: 4131: 4122: 4113: 4092: 4083: 4065:[Forefather of Comics]. 4054: 4038: 3992: 3970: 3958: 3936: 3909: 3897: 3876: 3867: 3858: 3849: 3840: 3831: 3822: 3813: 3790: 3770: 3742: 3733: 3724: 3715: 3706: 3697: 3688: 3679: 3670: 3661: 3652: 3643: 3634: 3625: 3616: 3607: 3598: 3589: 3580: 3571: 3562: 3553: 3544: 3535: 3526: 3517: 3508: 3487: 3478: 3469: 3460: 3451: 3442: 3433: 3424: 3415: 3406: 3397: 3388: 3379: 3354: 3341: 3332: 3323: 3314: 3305: 2397:[Forefather of Comics]. 1921:Slinks to the Exchange, unshaven 1856:Preface of the fifth chapter of 1312:Die Farbentöne, die Gruppierung, 1306:Ich blicke durch die hohle Hand, 1153:(Abenteuer eines Junggesellen), 978:Then again, the pen would rather 926:if the other has evil intention, 537:Singspiel von Georg Kremplsetzer 167:Heinrich Christian Wilhelm Busch 156: 53:Heinrich Christian Wilhelm Busch 4518:Works by or about Wilhelm Busch 4508:Works by Wilhelm Busch (German) 3296: 3287: 3278: 3269: 3260: 3251: 3242: 3233: 3224: 3215: 3206: 3197: 3188: 3179: 3170: 3161: 3140: 3131: 3122: 3113: 3104: 3095: 3086: 3077: 3068: 3059: 3050: 3041: 3032: 3023: 3014: 3005: 2984: 2975: 2966: 2957: 2936: 2927: 2918: 2909: 2900: 2891: 2870: 2861: 2840: 2831: 2822: 2801: 2792: 2783: 2774: 2765: 2756: 2747: 2738: 2729: 2708: 2673: 2664: 2643: 2634: 2625: 2616: 2607: 2598: 2589: 2580: 2571: 2562: 2553: 2544: 2535: 2526: 2517: 2508: 2499: 2490: 2469: 2460: 2165:, described Busch as the first 2161:, in a letter to gallery owner 1917:And the Hebrew, sly and craven, 1908:Schlängelt sich zur hohen Börse 1847: 1656:Dangles from this apple tree!" 1369:influenced by Schopenhauer and 1337:What broad authoritative sweep! 1331:I form a spyglass with my hand, 1325:While secretly I note the tags. 1323:For just a minute comment lags, 1316:Ein Meisterwerk der Phantasie. 1310:Das Kolorit, die Pinselführung, 1273:), and their prominent members 1259:Clement Dove, the Poet Thwarted 1191:Macht man einen dicken Strich. 991:But the children get in trouble 982:Handsome mother, honest father, 915:A saintly person likes to labor 589:Christian devotional literature 4277: 4222:Claire Suddath (17 May 2010). 3403:Weissweiler, S. 215 und S. 216 2451: 2442: 2433: 2424: 2415: 2386: 2077:Der heilige Antonius von Padua 1988:The first biography on Busch, 1983: 1904:Und der Jud mit krummer Ferse, 1345:Of trailing asymptotic lines! 956:Schweigen will ich vom Theater 21:Wilhelm Busch (disambiguation) 1: 4678:19th-century German essayists 4365:(in German). Tübingen: Narr. 4325:Wilhelm Busch, Leben und Werk 3799:"Schöner ist doch unsereiner" 3284:zitiert nach Wessling, p. 155 2332: 2299:"participated" in late 1960s 2269:(Walther Günther, 1932), and 1906:Krummer Nas' und krummer Hos' 1654:All I dreamt might come to be 1641:Meines Lebens schönster Traum 1327:(I emulate the trade's elect: 1302:Und bei genauerer Betrachtung 1252: 969:Und die Kinder werden Sünder, 967:Doch man denket nichts dabei. 965:Zwar man zeuget viele Kinder, 681:Busch's grave in Mechtshausen 672: 4683:University of Hanover alumni 4608:20th-century German painters 4593:19th-century German painters 3918:"Zuhause bei Max und Moritz" 1910:Tiefverderbt und seelenlos. 1836:Abenteuer eines Junggesellen 1643:Hängt an diesem Apfelbaum!" 1536: 1527:Franz Sternbalds Wanderungen 1461:Themes, technique, and style 1314:Dies Lüster, diese Harmonie, 1198:April, cousins, maidens, May 1185:Rosen, Tanten, Basen, Nelken 993:If the parents do not care. 971:Wenn's den Eltern einerlei. 958:Wie von da, des Abends spät, 626: 399:Josephus Laurentius Dyckmans 248: 122:Academy of Fine Arts, Munich 7: 4533:(public domain audiobooks) 4287:The Genius of Wilhelm Busch 1778:Canings and other cruelties 1602: 1380: 1187:Sind genötigt zu verwelken; 1145:Following in 1875, was the 987:Couples couple and redouble 984:As they amble home at night 539:. However, German composer 118:Beaux-Arts Academy, Antwerp 10: 4704: 4638:German satirical novelists 4548:Paintings by Wilhelm Busch 2368:Germanic Notes and Reviews 2275:Christian Democratic Union 1893:Helen Who Couldn't Help It 1770:in a speech about wisdom. 1694:Helen Who Couldn't Help It 1525:established with his 1798 1493:Helen Who Couldn't Help It 1018:Helen Who Couldn't Help It 962:Arm in Arm nach Hause geht 960:Schöne Mutter, alter Vater 944:Helen Who Couldn't Help It 891:Helen Who Couldn't Help It 887:Helen Who Couldn't Help It 837:Helen Who Couldn't Help It 813: 783:Helen Who Couldn't Help It 515:Liebestreu und Grausamkeit 395:Royal Academy of Fine Arts 18: 4663:19th-century German poets 4648:Writers from Lower Saxony 4456:Weissweiler, Eva (2007). 4399:Pietzcker, Frank (2002). 3338:Weissweiler, pp. 320–322. 2083:, gave Busch 20,000 2031: 2010:Friedrich Theodor Vischer 2006:Gottfried Wilhelm Leibniz 1766:, where he uses the epic 1584:printing, such as copper 1533:, and form of narration. 428: 393:to continue study at the 155: 150: 138: 127: 105: 79: 49: 37: 30: 4323:Diers, Michaela (2008). 4230:magazine. Archived from 4164:Weissweiler, pp. 204–205 4155:Weissweiler, pp. 143–144 4137:Weissweiler, pp. 142–143 3846:Weissweiler, pp. 308–309 3376:Weissweiler, pp. 163–164 3360:Weissweiler, pp. 330–331 3329:Weissweiler, pp. 316–317 3110:Weissweiler, pp. 169–172 3101:Weissweiler, pp. 166–167 3002:Weissweiler, pp. 270–271 2981:Weissweiler, pp. 252–253 2954:Weissweiler, pp. 232–234 2876:Weissweiler, pp. 132–133 2604:Wessling, pp. 30–32 2309: 1941:Eight Sheets in the Wind 1817:and Lehrer Bokelmann in 1815:Adventures of a Bachelor 1760:Adventures of a Bachelor 1469:Final illustration from 1343:Those economical designs 1202:And I also, soon enough, 1163:Jack Crook, Bird of Evil 1151:Adventures of a Bachelor 1133:Adventures of a Bachelor 885:Busch's following work, 549:Eight Sheets in the Wind 350: 193:was inspired by Busch's 114:Kunstakademie Düsseldorf 4418:Schury, Gudrun (2007). 2244:William Randolph Hearst 2073:Alldeutsche Vereinigung 1108:by Wilhelm Busch 1869, 1106:Eingeschlafener Trinker 1079:era, he criticizes the 855:Saint Antonius of Padua 833:Saint Antonius of Padua 772: 567:Wilhelm Busch, ca. 1882 243: 4688:19th-century Lutherans 4573:People from Schaumburg 4527:Works by Wilhelm Busch 4499:Works by Wilhelm Busch 4384:(in German). Metzler. 4342:Kraus, Joseph (2007). 4285:Arndt, Walter (1982). 3721:Mihr, pp. 27–40, 61–70 2807:Weissweiler, pp. 102–9 2550:Weissweiler, pp. 33–34 2514:Weissweiler, pp. 25–27 2200: 2060: 2049: 1860: 1790: 1676: 1473: 1393: 1176: 1113: 1016:In the second part of 850: 785: 682: 568: 453: 382:Düsseldorf Art Academy 357:mechanical engineering 305: 221: 176:, religious morality, 4668:German-language poets 4653:German male essayists 4628:German comics artists 4623:German comics writers 4437:Ueding, Gert (2007). 4380:Pape, Walter (1977). 4361:Mihr, Ulrich (1983). 3577:Wessling, pp. 120–121 3347:Clemens Heydenreich: 2248:The Katzenjammer Kids 2229:The Katzenjammer Kids 2196:The Katzenjammer Kids 2188: 2181:"Moritzian" influence 2055: 2039: 1855: 1785: 1671: 1622:Christian Morgenstern 1486:Münchener Bilderbogen 1468: 1388: 1171: 1104: 1096:Critique of the Heart 845: 780: 765:, and a few drops of 680: 573:Münchener Bilderbogen 566: 533:Der Vetter auf Besuch 525:Der Vetter auf Besuch 486:Münchener Bilderbogen 451: 329:elementary arithmetic 300: 219: 190:The Katzenjammer Kids 4618:German caricaturists 4603:German male painters 4063:"Urvater des Comics" 3658:Pietzcker, pp. 15–16 3631:Ueding, pp. 103, 105 3613:Pietzcker, pp. 28–30 3020:Weissweiler, p. 332. 2395:"Urvater des Comics" 2124:Wilhelm Busch Museum 2042:Wilhelm Busch Museum 1923:And intent on usury 1551:letterpress printing 1200:Irretrievably decay; 1022:Catholic pilgrimages 729:Wilhelm von Kaulbach 470:Academy of Fine Arts 361:Hannover Polytechnic 205:Wilhelm Busch Museum 180:, and moral uplift. 110:Hannover Polytechnic 19:For other uses, see 4588:German illustrators 4483:Biography and works 4212:Weissweiler, p. 331 3882:Weissweiler, p. 340 3797:Gernhardt, Robert. 3757:Fischer Taschenbuch 3640:Ueding, pp. 106–107 3559:Weissweiler, p. 254 3484:Weissweiler, p. 120 3457:Ueding, pp. 301–302 3448:Ueding, pp. 296–297 3430:Weissweiler, p. 164 3421:Weissweiler, p. 310 3385:Weissweiler, p. 139 3221:Weissweiler, p. 229 3212:Weissweiler, p. 179 3203:Weissweiler, p. 177 3158:Weissweiler, p. 194 3092:Weissweiler, p. 168 3047:Weissweiler, p. 344 3029:Weissweiler, p. 334 2972:Weissweiler, p. 237 2933:Weissweiler, p. 159 2906:Weissweiler, p. 156 2897:Weissweiler, p. 155 2888:Weissweiler, p. 138 2846:Weissweiler, p. 118 2837:Weissweiler, p. 265 2475:Wessling, p. 22, 24 2289:satirical magazine 2236:, published in the 2171:Bilder zur Jobsiade 2133:Influence on comics 2115:Wilhelm Busch Prize 2014:Frankfurter Zeitung 1873:speculative capital 867:papal infallibility 659:Arthur Schopenhauer 541:Elsa Laura Wolzogen 452:Wilhelm Busch, 1860 201:Wilhelm Busch Prize 91:Province of Hanover 44:Self-portrait, 1894 4327:(in German). dtv. 4045:Knigge, Andreas C. 4030:has generic name ( 3776:Piefel, Matthias: 3712:Weissweiler, p. 22 3649:Weissweiler, p. 94 3493:Pietzcker, Frank: 3083:Wessing, pp. 92–93 2789:Weissweiler, p. 95 2753:Weissweiler, p. 84 2744:Weissweiler, p. 80 2726:Weissweiler, p. 75 2679:Weissweiler, p. 64 2670:Weissweiler, p. 56 2661:Weissweiler, p. 51 2532:Weissweiler, p. 29 2505:Weissweiler, p. 26 2496:Weissweiler, p. 27 2487:Weissweiler, p. 20 2457:Weissweiler, p. 14 2201: 2175:Eadweard Muybridge 2085:ℛ︁ℳ︁ 2061: 2050: 1861: 1791: 1677: 1618:Joachim Ringelnatz 1597:Mr. and Mrs. Knopp 1482:Fliegenden Blätter 1474: 1394: 1177: 1155:Mr. and Mrs. Knopp 1126:Kritik des Herzens 1118:Kritik des Herzens 1114: 942:Many details from 851: 786: 692:nicotine poisoning 687:alcohol dependence 683: 569: 511:Georg Kremplsetzer 454: 306: 222: 134:, painting, poetry 69:Kingdom of Hanover 4658:German male poets 4503:Project Gutenberg 4467:978-3-462-03930-6 4448:978-3-458-17381-6 4429:978-3-351-02653-0 4391:978-3-476-10163-1 4353:978-3-499-50163-0 4334:978-3-423-34452-4 3765:978-3-596-11694-2 3739:Schury, pp. 29–30 3532:Schury, pp. 89–90 3475:Ueding, pp. 71–72 3394:Schury, pp. 52–53 2559:Weisweiler, p. 32 2523:Schury, pp. 32–33 2281:characters for a 2232:by German artist 2220:Tootle and Bootle 2138:Andreas C. Knigge 2100:Focke-Wulf Ta 183 2002:Peter Paul Rubens 1998:Leonardo da Vinci 1973: 1972: 1932: 1931: 1679:Many of Brusch's 1665: 1664: 1518:Der Schmetterling 1505:Heinrich Hoffmann 1451:Franz von Lenbach 1354: 1353: 1246: 1245: 1213: 1212: 1174:Edgar Hanfstaengl 1081:Holy Roman Empire 1073:Eginhard and Emma 1053: 1052: 1002: 1001: 939: 938: 744:Bassermann Verlag 721:Franz von Lenbach 577:Fliegende Blätter 520:Hansel und Gretel 491:Fliegende Blätter 407:Peter Paul Rubens 212:Family background 164: 163: 4695: 4633:German satirists 4583:German Lutherans 4538: 4537: 4522:Internet Archive 4471: 4452: 4433: 4414: 4395: 4376: 4357: 4338: 4319: 4300: 4271: 4268: 4262: 4259: 4253: 4252:Diers, pp. 65–67 4250: 4244: 4243: 4241: 4239: 4219: 4213: 4210: 4201: 4198: 4192: 4189: 4183: 4180: 4174: 4171: 4165: 4162: 4156: 4153: 4147: 4144: 4138: 4135: 4129: 4126: 4120: 4117: 4111: 4096: 4090: 4087: 4081: 4080: 4078: 4076: 4068:Der Tagesspiegel 4058: 4052: 4042: 4036: 4035: 4029: 4025: 4023: 4015: 4013: 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3285: 3282: 3276: 3275:Wessling, p. 155 3273: 3267: 3264: 3258: 3255: 3249: 3246: 3240: 3237: 3231: 3228: 3222: 3219: 3213: 3210: 3204: 3201: 3195: 3194:Diers, pp. 90–91 3192: 3186: 3183: 3177: 3174: 3168: 3165: 3159: 3156: 3147: 3144: 3138: 3135: 3129: 3128:Wessling, p. 106 3126: 3120: 3119:Wessling, p. 100 3117: 3111: 3108: 3102: 3099: 3093: 3090: 3084: 3081: 3075: 3072: 3066: 3063: 3057: 3054: 3048: 3045: 3039: 3036: 3030: 3027: 3021: 3018: 3012: 3009: 3003: 3000: 2991: 2988: 2982: 2979: 2973: 2970: 2964: 2961: 2955: 2952: 2943: 2940: 2934: 2931: 2925: 2924:Diers, pp. 75–76 2922: 2916: 2913: 2907: 2904: 2898: 2895: 2889: 2886: 2877: 2874: 2868: 2865: 2859: 2858:Diers, pp. 45–46 2856: 2847: 2844: 2838: 2835: 2829: 2826: 2820: 2817: 2808: 2805: 2799: 2796: 2790: 2787: 2781: 2778: 2772: 2769: 2763: 2760: 2754: 2751: 2745: 2742: 2736: 2733: 2727: 2724: 2715: 2712: 2706: 2703: 2692: 2689: 2680: 2677: 2671: 2668: 2662: 2659: 2650: 2647: 2641: 2638: 2632: 2629: 2623: 2620: 2614: 2611: 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4186: 4181: 4177: 4173:Wessling, p. 73 4172: 4168: 4163: 4159: 4154: 4150: 4145: 4141: 4136: 4132: 4127: 4123: 4119:Ueding, p. 193. 4118: 4114: 4097: 4093: 4088: 4084: 4074: 4072: 4059: 4055: 4043: 4039: 4027: 4026: 4017: 4016: 4009: 4007: 3997: 3993: 3983: 3981: 3978:"Gedenkstätten" 3976: 3975: 3971: 3963: 3959: 3949: 3947: 3942: 3941: 3937: 3927: 3925: 3914: 3910: 3902: 3898: 3893: 3886: 3881: 3877: 3872: 3868: 3863: 3859: 3854: 3850: 3845: 3841: 3836: 3832: 3827: 3823: 3818: 3814: 3804: 3802: 3795: 3791: 3775: 3771: 3749:Ullrich, Volker 3747: 3743: 3738: 3734: 3729: 3725: 3720: 3716: 3711: 3707: 3702: 3698: 3693: 3689: 3684: 3680: 3675: 3671: 3667:Mihr, pp. 76–79 3666: 3662: 3657: 3653: 3648: 3644: 3639: 3635: 3630: 3626: 3621: 3617: 3612: 3608: 3603: 3599: 3594: 3590: 3585: 3581: 3576: 3572: 3567: 3563: 3558: 3554: 3549: 3545: 3540: 3536: 3531: 3527: 3522: 3518: 3513: 3509: 3492: 3488: 3483: 3479: 3474: 3470: 3465: 3461: 3456: 3452: 3447: 3443: 3438: 3434: 3429: 3425: 3420: 3416: 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