In 1987/88, Stelzmann teaches as a guest professor at the Frankfurt Städelschule for the first time. Here he creates a series of lithographs by the title of 'Nachtprogramm' (Night Program). Etchings too can divulge the characteristic academic draftsman, and they too can often conceal small, secret, sharp messages on contemporary events. This refines draftsman was acclaimed in his homeland, and this was carried over into Italy. Painterly effects are imbedded into the foreground in countless sketches. His most classical draftsmanship can be found, however, in his graphic works, of which the etching Auferstehung (Uprising, 1988-89) from Grafos Verlag provides an eloquent example. The uprising was a theme that had long concerned the artist. Stelzmann is an agile draftsman. He paraphrases and incorporates references to other paintings such as the masterpieces on exhibit at the Dresden Gemälde Galerie, from De Roberti's scenes of the passion to Correggio's Mannerism of the 16th century. Stelzmann also integrates, almost casually, a certain contemporary vision. This artist, born in Dresden, set himself the disciplined task of analyzing traditional paintings with many figures. His teachers were Meyer-Foreyt and G.K. Müller from the Leipzig institute. Stelzmann's art belongs within the context of the Dresden school with its 'Sachlichkeit' (Objectivity) and the refined 'Neue Realismus' (New Realism), represented by such artists as Conrad Felixmüller, Willy Neubert, and Werner Tübke. In the catalogue published by the Alvensleben Gallery in Munich, Stelzmann's preoccupations can be traced in his crucifixion scenes. They recall Tiepolo and Caravaggio, and the large format works, filled with figures, of El Greco's time. Some of his works from the 80's, washed in India ink, which recall Dürer or the light-dark values and lighting effects of Rembrandt. His paintings give reference to Grünewald, Baldung Grien, Zurbarán, Lorenzo Lotto and Raphael. The French Arcadia of the 17th century is also represented, as is the 19th century, with Waldmüller, Feuerbach and Leibl shimmering through the canvas as if the past had always been a vital part of the present. ek