Description: As the first plate makes clear, this is no longer the Culture of Geothe and Schiller. The once highly cultivated German was now a destructive Boshe. His skin is a aglow with the flames he puts to Belgian houses. Where he once constructed beautiful Dresden, he now lays waste to Liege.

Description: In a series of six plates, Hermann-Paul devotes two to rape. To his critics, the attention he gives that crime is disproportionate to its occurrence. Here the Boche invades the home. The assault takes place in the master bedroom. He is dressed in field gray. To ensure no question about his identity, a pickelhauben lies in the foreground. Thin lines in the black plate enable the artist to achieve an excellent array of texture.

Description: The number of perpetrators grows. Rape is no longer an isolated crime. The landscape is barren and the Germans resemble the pitch fork wielding mob of yore. After its success on the ground, the German army takes what it considers its reward. Her clothes hang from her body as if she had been taken before. Her dress falls and impedes her ability to flee. She'll be taken again.

Description: The Germans are seen systematically enriching themselves with Belgian possessions. In this plate, they demonstrate far more care for objects than they did for people. There was no accountability during the ransack, now the officer checks dry goods against his list.

Description: During the 1890s, Hermann-Paul made his name as a harsh critic of the French army and military expansion. In this series, he simply moved his criticisms from France to Germany. To many on the left, this series was little more than propaganda designed to heighten tensions and prolong the war. How do you negotiate peace with the Kultur depicted in these plates? The series does seem out of character. As the war goes on, his true personality begins to reappear.

Description: Color lithograph which celebrates the French-American alliance during the First World War. When the doughboys arrived in France, Gen. John Pershing was said to exclaim, "Lafayette, we have come!"

Description: Woodcut, black ink on grey paper. The Angel of the Home is said to bring serenity and tranquility to the family. Hermann-Paul's angel startles the lady of the house...

Description: Woodcut printed in grey and black on Arches wove paper. This is an edition of 6, signed and numbered. Like many before and after him, Hermann-Paul was infatuated by the ladies of Spain.

Description: A Spanish matador in the first stage of the fight, tercio de varas or the lancing third. Here he observes the bull's behavior in a series of ritualized passes. This print is thought to be part of a series on Spanish matadors and dated accordingly.

Description: Woodcut printed in black on wove paper. Here the Spanish matador is poised to strike with a sword. In the Camargue, bulls were never killed for sport. Instead, runners attempted to remove ribbons from their horns.