Kneeling, Small (Kniende, klein)

Drypoint allowed Lehmbruck to carve lines directly into the plate, producing a rich, fuzzy burr that retains ink unevenly. The resulting image is marked by rough, hesitant strokes and unpolished edges, mirroring the immediacy of a sketch. The paper’s untrimmed borders reinforce the sense of a working drawing, emphasizing process over finality.

The print emerged during Lehmbruck’s time in Paris, where he was exposed to modernist currents and engaged with artists exploring psychological depth in form. While few records detail its early ownership, it was included in early 20th-century exhibitions of German graphic art, affirming its role in his broader print practice.

In 1910, Lehmbruck was moving away from academic realism toward a more expressive, elongated style influenced by Rodin and emerging Expressionism. This print reflects his attempt to distill emotional weight through minimal means, aligning with contemporaneous shifts in German art toward interiority and raw gesture over idealized form.

Though less known than his sculptures, *Kneeling, Small* exemplifies Lehmbruck’s commitment to the expressive potential of line. Its unrefined aesthetic influenced later artists exploring the intersection of drawing and sculpture, particularly those interested in the emotional resonance of unfinished or gestural mark-making.