Will Küpper, Nach Dem Krieg ( After The War ) 1919 and Will Küpper, Streichhòlzer ( Matches, Matches ), 1919
Some of the most Compelling posters were distributed by the anti-Bolshevik groups. They used Images of gorillas and vultures depicted in Gaudy, horrific yellows and reds to frighten the public to attention. These artists sought a coalition, a united Germany, as illustrated in Klein Arbeiter,
Bürger. Bauern. Soldaten (Workers. Citizens. Farmers. Soldiers;
In addiction to making posters, many artists created covers for widely circulated broadsheets, pamphlets, and periodicals.
Between 1918 and 1925 different literary journals of varying longevity were published throughout Germany; most of these were liberal to radical in bias. Of these fifty-three were founded after 1918 and folded before 1925." The periodicals were able to respond instantly to current events. Their titles reflect the youth and vigor of their makers.
Guenther discusses many of the lesser-known journals in this essay.
From Berlin, Bielefeld, Darmstadt, Dresden, Dusseldorf, Hamburg, Hannover, Heidelberg, Munich, and Saarbrucken came periodicals with titles such a Die Aktion,
Der Anbruch,( The new beginning ) Die Dachstube ( The attic Room ), Feuer ( Fire ), Kündung ( Herald ), Menschen, Die Rote Erde( The Red Hearth ) Die Sichel ( The Sickle ), Das Tribunal ( The Tribunal ) Der Wurf
( The Venture ), and Der Ziegelbrenner ( Brick-Maker ).
Together they form an important part of the history of postwar
German Expressionism, for it was in these periodicals that the artists, writes, publishers, and poets were able to join together most effectively to sound their cry for a new society and for a new role for creative peolple.