A stark, typographic title page from Heinrich Hoerle's 1920 portfolio, Krüppel, documenting the social impact of the First World War.

This title page originates from the 1920 portfolio titled Krüppel (Cripples), a collection of twelve lithographs by the German artist Heinrich Hoerle. The work reflects the stark, unsentimental aesthetic of the New Objectivity movement, which emerged in Germany following the First World War. Hoerle, a central figure in the Cologne Dada scene, used his art to address the physical and psychological trauma inflicted upon veterans.

The composition is strictly typographic, relying on a clean, sans-serif aesthetic that mirrors the industrial and mechanical nature of the era. The text lists the titles of the twelve prints included in the portfolio, such as The Breadwinner, The Unemployed, and The Man with the Wooden Leg. By presenting these titles in a formal, catalogue-like arrangement, Hoerle forces the viewer to confront the grim reality of post-war society without the distraction of decorative flourishes. The paper tone and the precise, stark black lettering evoke the urgency of political pamphlets and independent publications of the Weimar Republic.

Hoerle’s work during this period is characterised by a rejection of Expressionist emotionalism in favour of a cold, analytical observation of human suffering. The title page functions as a manifesto for the portfolio, framing the subsequent images as a documentation of the social consequences of conflict. The inclusion of the artist's address in Cologne-Lindenthal at the bottom of the page underscores the self-published nature of the project, highlighting the independent spirit of the Cologne avant-garde. This print is a significant example of early twentieth-century graphic design, where typography serves as a primary vehicle for social commentary and historical record.