Editing Wilhelm Busch (section)

===Influence on comics===
[[Andreas C. Knigge]] described Busch as the "first virtuoso" of illustrated stories.<ref>[[Andreas C. Knigge|Knigge, Andreas C.]]: ''Comics&nbsp;– Vom Massenblatt ins multimediale Abenteuer'', p. 14. Rowohlt Taschenbuch Verlag, 1996.</ref> From the second half of the twentieth century he was considered the "Forefather of Comics".<ref>{{cite news | url=http://www.tagesspiegel.de/zeitung/der-urvater-des-comics/1125978.html | title=Urvater des Comics |trans-title=Forefather of Comics|author=Töpper, Stephan | newspaper=[[Der Tagesspiegel]]|language=de| date=22 December 2007 | access-date= 28 January 2013}}</ref> His early illustrations differ from those of the colleagues of Kaspar Braun. They show an increasing focus on protagonists, are less detailed in drawing and atmosphere, and develop from a dramatic understanding of the whole story.<ref>Schury, p. 80</ref> All Busch's illustrated tales have a plot that firstly describes the circumstance, then a resulting conflict, then solution.<ref>Ruby, Daniel: ''Schema und Variation&nbsp;— Untersuchungen zum Bildergeschichtenwerk Wilhelm Buschs''. Europäische Hochschulschriften, Frankfurt am Main 1998, {{ISBN|3-631-49725-3}}, p. 26</ref> Plots are developed through consecutive scenes, similar to film storyboards. Busch conveys an impression of movement and action, at times strengthened through a change of perspective.<ref>Ueding, p. 193.</ref> According to Gert Ueding, his depiction of movement is unique.<ref>Ueding, p. 196</ref>

One of Busch's notable stories is ''Der Virtuos'' (1865), which describes the life of a pianist who plays privately for an excited listener. Satirizing the self-publicizing artist's attitude and his overblown adoration, it varies from Busch's other stories as each scene does not contain prose, but is defined with music terminology, such as "Introduzione", "Maestoso", and "Fortissimo vivacissimo". As the scenes increase in tempo, each part of his body and [[lappet]] run around. The penultimate scene again depicts the pianist's movements, with score sheets floating above the grand piano on which musical notes are dancing.<ref>Weissweiler, pp. 142–143</ref><ref>Schury, p. 81</ref> Over the years graphic artists have been fascinated by ''Der Virtuos''. [[August Macke]], in a letter to gallery owner [[Herwarth Walden]], described Busch as the first [[Futurism|Futurist]], stating how well he captured time and movement.<ref>Weissweiler, pp. 143–144</ref> Similar pioneering scenes are in ''Bilder zur Jobsiade'' (1872). Job fails to answer rather easy questions set by twelve clergy, who shake their heads in synchronicity. Each scene is a movement study that presages [[Eadweard Muybridge]]'s photography. Muybridge began his work in 1872, not released until 1893.<ref>Weissweiler, pp. 204–205</ref>