His illustrations relied on blotches of pure black with minimum outline to define his animated marionettes.

Hermann-Paul worked in Ripolin enamel paint, watercolors, woodcuts, lithographs, drypoint engraving, oils, and ink.

Recent efforts to catalog the work of Hermann-Paul reveal an artist of considerable scope.

As noted by the Burlington Magazine for Connoisseurs, the exhibition was "chiefly remarkable for a series of paintings or drawings - it is hard to say which - by M. Hermann-Paul in a new medium which is simply ripolin.

Although the bourgeoisie received the brunt of his mockery, Hermann-Paul prodded all aspects of Parisian society.

[4] During this time, Hermann-Paul produced work in the "intimiste" style which often depicted bourgeois settings populated by women sipping tea or quietly sewing.

[5] Other practitioners include Maurice Lobre, Hughes de Beaumont, Henri Matisse, Rene Prinet and Ernest Laurent.

A decade earlier, the Dreyfus Affair cleaved the country decisively along the lines of left and right; there was little doubt as to where the artist stood.

With his depiction of a brutal enemy raping its way across Europe, critics on the left claimed he was helping to shut down avenues toward peace.

For the left, these were the generals who senselessly sent young men to slaughter in pointless attacks against entrenched machine guns.

Hermann-Paul did a sizeable number of illustrations for Candide in the interwar period, but these were the exception rather than the rule.

Hermann-Paul's first major post-war work was a morbid series of woodcuts in book form, The Dance With Death (La danse macabre; vingt gravures sur bois).

The meaning of individual works is not always clear but the series is a firm indictment of modern mechanized warfare.

His inspirations become more literary than journalistic and his style evolved from a belle époque line to a modernist simplification.

His many book illustrations, both reproductive and original also deserve much praise, as does his immense production of journalistic satire in the 1890s through the end of the 1910s.

Interest has recently surged since Hermann-Paul's work was rediscovered by a larger public through the auction of his earlier pieces in October 2000 in Chartres.