spˈeɪʃəl wˈɪtθ ænd skˈʌlptʃɚɹəl vˈɑːljuːmz fˈɔːɹmd ðə kˈɔːz fɚɹə mˌʌltɪplˈɪsᵻɾi ʌv pˈɪktʃɚz, wˌɪtʃ tˈɛstᵻfˌaɪ fɔːɹ lˈʌdwɪɡ ɪnðə jˌʊɹɹəpˈiən ˈɑːɹt ʌvðə tˈaɪm ˈæftɚ sˈeɪzæn bᵻsˌaɪd ðə dʒˈɜːmən ɛkspɹˈɛʃənˌɪst ðɪ ˈoʊn wˈeɪ ʌvðɪ aʊtsˈaɪdɚ: ɐ kˈʌlɚɹˌɪst ʌv hˈaɪ dᵻɡɹˈiːz, hˌuːz dɪskˈʌvɚɹi ɪz təbi ɹᵻtɹˈiːvd nˈaʊ" ɹˈaɪnhɑːɹd mjˈuːəlɚmˈeɪliz.
Spatial width and sculptural volumes formed the cause for a multiplicity of pictures, which testify for Ludwig in the European art of the time after Cézanne beside the German expressionist the own way of the outsider: a colorist of high degrees, whose discovery is to be retrieved now" (Reinhard Mueller-Mehlis).