File:Lothar Osterburg Entering Yesterday’s City of Tomorrow 2011.jpg

Entering Yesterday's City of Tomorrow by Lothar Osterburg (photogravure on gampi mounted, 27" x 69.5", 2011). The image illustrates a key later period and series in Lothar Osterburg's photogravure work in the 2010s, when he increasingly explored imaginary architecture and cities inspired by speculation and memories of art, fiction, travel and reminiscences. This work freely mixes eras and styles to create fantastical, timeless forms and parallel "what-if" histories. This particular image is part of his "Yesterday's Cities of Tomorrow" series, which sought to capture the mythical, longed for, and sometimes fantastical New York City imagined by Ellis Island immigrants or encountered in old books and movies by mixing history, fantasy, and familiar landmarks. This work has been publicly exhibited in prominent venues, discussed widely in national art and daily press publications, and collected by major art institutions.

Artist Lothar Osterburg. Copyright held by the artist.

Lothar Osterburg

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key later period and series in Lothar Osterburg's photogravure work in the 2010s: his explorations of imaginary architecture (some influenced by 18th-century printmaker Giovanni Battista Piranesi's Carceri etchings) and cities (in this case, his "Yesterday's Cities of Tomorrow" series which sought to capture the New York City imagined by Ellis Island immigrants or in old books and movies). This work freely mixes eras and styles to create fantastical, timeless forms and parallel "what-if" histories inspired by speculation and memories of art, fiction, travel and reminiscences. They have been described as incongruous images as "marvels of deadpan hilarity" and remarkable "steampunk" images. Because the article is about an artist and his work, the omission of the image would significantly limit a reader's understanding and ability to visualize a key body of work, which brought recognition and commissions from art journals, daily press publications, and museums and arts institutions. Osterburg's work of this type and this work in particular is discussed in the article and by prominent critics cited in the article.

There is no free equivalent of this or any other of this series by Lothar Osterburg, so the image cannot be replaced by a free image.

The image will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original due to its low resolution and the general workings of the art market, which values the actual work of art. Because of the low resolution, illegal copies could not be made.