When the war was over, Hans Liska, a newspaper illustrator by training, became an in-house graphic designer at Mercedes-Benz and began creating advertising pamphlets and posters. When the car maker made its comeback in motorcar racing, there were once again racing triumphs to be documented, such as the victories of the 300 SL in Le Mans, on the Nürburgring and at the Panamericana. Liska, who had a keen sense of observation, was bound to specific guidelines – as Henri Rudaux had been half a century earlier. Nevertheless, he was able to impart an emotional quality and a formal cohesion to his posters. But days of this type of naturalistic and objective portrayal were numbered at Mercedes-Benz, too. In 1955 the car manufacturer ventured a bold step toward modernity, a controversial move which was hotly debated even within the company itself. The face of this new direction was Anton Stankowski, known today as the "father of concrete art".