The painter and graphic artist Joseph Mader (1905-1982), who was shaped by his encounter with the works of Max Beckmann around 1928, was just beginning his career in 1933 and was thus confronted with the question of adapting and distancing himself. His isolation made him an artist of the "lost generation", who never had the chance to position himself in the art market prior to the "Third Reich". Mader continued his artistic career admidst the political discussions surrounding the art oft he postwar era as a figurative painter. He juxtaposed a love of "what is visible", the mysterious harmony of creation, with Beckmann's hard-hitting view of the "objectivity" of the world. Mader's life and work are an appeal to reassess thins generation's evaluations of art and society.

Hans Funk (1928-2002) made a name for himself as a draftsman starting in the 1960s and 1970s. From his beginnings in Art Informel, in his large-format pen-and-ink drawings he developed an extensive and independent oeuvre that oscillates betweenrenouncing and preserving form, between spontaneity and reflection. The artist lived and worked in Luneburg in Lower Saxony, thus far away from big cities and their art market protagonists. The volume now being published by his son Tobias Funk presents the development of his brilliant drawing art in eighty images. His drawing oeuvre is also described in detail in three art-historical essays.