◀     ▶
DRAW

CHAPTERS

Copied to clipboard.

THE MEMORIAL
Käthe
Kollwitz

Käthe

Kollwitz

Memorial

Käthe Kollwitz Memorial
  18671945 

Käthe Kollwitz,

Née Schmidt (German pronunciation: [kɛːtə kɔlvɪt͡s]; 8 July 1867 – 22 April 1945), was a German artist who worked with painting, printmaking (including etching, lithography and woodcuts) and sculpture. Her most famous art cycles, including The Weavers and The Peasant War, depict the effects of poverty, hunger and war on the work class. Despite the realism of her early works, her art is now more closely associated with Expressionism. Kollwitz was the first woman to not only be elected to the Prussian Academy of Arts but to also receive honorary professor status. Kollwitz was born in Königsberg, Prussia, the fifth child in her family. Her father, Karl Schmidt, was a radical Social democrat who became a mason and house builder. Her mother, Katherina Schmidt, was the daughter of Julius Rupp, a Lutheran pastor who was expelled from the official Evangelical State Church and founded an independent congregation. Her education and her art were greatly influenced by her grandfather's lessons in religion and socialism.

Née Schmidt (German pronunciation: [kɛːtə kɔlvɪt͡s]; 8 July 1867
– 22 April 1945), was a German artist who worked with
painting, printmaking (including etching, lithography and
woodcuts) and sculpture. Her most famous art cycles,
including The Weavers and The Peasant War, depict the effects
of poverty, hunger and war on the work class. Despite the
realism of her early works, her art is now more closely
associated with Expressionism. Kollwitz was the first woman to
not only be elected to the Prussian Academy of Arts but to also
receive honorary professor status. Kollwitz was born in
Königsberg, Prussia, the fifth child in her family. Her father, Karl
Schmidt, was a radical Social democrat who became a mason
and house builder. Her mother, Katherina Schmidt, was the
daughter of Julius Rupp, a Lutheran pastor who was expelled
from the official Evangelical State Church and founded an
independent congregation. Her education and her art were
greatly influenced by her grandfather's lessons in religion and
socialism.

Portraits Timeline:

Aged 5, 1872
Aged 5, 1872
Käthe drawing, 1906
Käthe drawing, 1906
Käthe, 1906
Käthe, 1906
Käthe and sons, 1909
Käthe and sons, 1909
Käthe, 1910
Käthe, 1910
Käthe, 1920
Käthe, 1920
Käthe, 1928
Käthe, 1928
Käthe, 1929
Käthe, 1929
Käthe and Karlz's grandson, 1932
Käthe and Karlz's grandson, 1932
Käthe and her sculpture, 1935
Käthe and her sculpture, 1935
Käthe in her studio, 1937
Käthe in her studio, 1937
70th Käthe Birthday, 1937
70th Käthe Birthday, 1937

Y
o
u
t
h

1867 ~ 1891

Life & Youth

Kollwitz's father arranged for her to begin lessons in drawing and copying plaster casts when she was twelve. At sixteen she began making drawings of working people, the sailors and peasants she saw in her father's offices. Wishing to continue her studies at a time when no colleges or academies were open to young women, Kollwitz enrolled in an art school for women in Berlin. There she studied with Karl Stauffer-Bern, a friend of the artist Max Klinger. The etchings of Klinger, their technique and social concerns, were an inspiration to Kollwitz.

In 1888, she went to Munich to study at the Women's Art School, where she realized her strength was not as a painter, but a draughtsman. At the age of seventeen, Kollwitz became engaged to Karl Kollwitz, a medical student, while she was studying art in Munich. In 1890, she returned to Königsberg, rented her first studio, and continued to draw pained laborers working which had become an inspiration for her work for years.

In 1891, Kollwitz married Karl, by this time a doctor, who tended to the poor in Berlin, where the couple moved into the large apartment that would be Kollwitz's home until it was destroyed in World War II. The proximity of her husband's practice proved invaluable

The motifs I was able to select from this milieu (the workers' lives) offered me, in a simple and forthright way, what I discovered to be beautiful.... People from the bourgeois sphere were altogether without appeal or interest. All middle-class life seemed pedantic to me. On the other hand, I felt the proletariat had guts. It was not until much later...when I got to know the women who would come to my husband for help, and incidentally also to me, that I was powerfully moved by the fate of the proletariat and everything connected with its way of life.... But what I would like to emphasize once more is that compassion and commiseration were at first of very little importance in attracting me to the representation of proletarian life; what mattered was simply that I found it beautiful

The Wavers The Wavers The Wavers The Wavers The Wavers The Wavers The Wavers The Wavers
Wavers The Wavers The Wavers The Wavers The Wavers The Wavers The Wavers The Wavers The
1892 ~ 1901

The Wavers

suffered anxiety during her childhood due to the death of her siblings, including the early death of her younger brother, Benjamin.[12] More recent research suggests that Kollwitz may have suffered from a childhood neurological disorder dysmetropsia (sometimes called Alice in Wonderland syndrome, due to its sensory hallucinations and migranes).

Between the births of her sons – Hans in 1892 and Peter in 1896 – Kollwitz saw a performance of Gerhart Hauptmann's The Weavers, which dramatized the oppression of the Silesian weavers in Langenbielau and their failed revolt in 1844.

Inspired, the artist ceased work on a series of etchings she had intended to illustrate Émile Zola's Germinal, and produced a cycle of six works on the weavers theme, three lithographs (Poverty, Death, and Conspiracy) and three etchings with aquatint and sandpaper (March of the Weavers, Riot, and The End). Not a literal illustration of the drama, the works were a free and naturalistic expression of the workers' misery, hope, courage, and eventually, doom.

The cycle was exhibited publicly in 1898 to wide acclaim. But when Adolf Menzel nominated her work for the gold medal of the Große Deutsche Kunstausstellung in Berlin, Kaiser Wilhelm II withheld his approval, saying "I beg you gentlemen, a medal for a woman, that would really be going too far . . . orders and medals of honour belong on the breasts of worthy men." Nevertheless, The Weavers became Kollwitz' most widely acclaimed work.

1867 ~ 1901
Expressionism - 1893 - 1897

Need

Expressionism - 1893 - 1897
Expressionism - 1893 - 1897

Death

Expressionism - 1893 - 1897
Expressionism - 1897

Revolt (By the Gates of a Park)

Expressionism - 1897
Expressionism - 1897

The End

Expressionism - 1897
Expressionism - 1897

The March of the Weavers in Berlin

Expressionism - 1897
Expressionism - 1903

Woman with Dead Child

Expressionism - 1903
Life &Youth
The Wavers

W
a
r
s

1902 ~ 1910

Peasant War

cycle of works was the Peasant War, which, subject to many preliminary drawings and discarded ideas in lithography, occupied her from 1902 to 1908. The German Peasants' War was a violent revolution which took place in Southern Germany in the early years of the Reformation, beginning in 1525; peasants who had been treated as slaves took arms against feudal lords and the church. As was The Weavers, this subject, too, might have been suggested by a Hauptmann drama, Florian Geyer. However, the initial source of Kollwitz's interest dated to her youth, when she and her brother Konrad playfully imagined themselves as barricade fighters in a revolution.

Not only did Kollwitz have a childhood connection, but an artistic connection as well. She was an advocate for those unspoken for and liked to portray the working class, as evidenced in in "The Weavers", in a way no one else saw .

The artist identified with the character of Black Anna, a woman cited as a protagonist in the uprising. When completed, the Peasant War consisted of pieces in etching, aquatint, and soft ground: Plowing, Raped, Sharpening the Scythe, Arming in the Vault, Outbreak, After the Battle (which, eerily premonitory, features a mother searching through corpses in the night, looking for her son), and The Prisoners. In all, the works were technically more impressive than those of The Weavers, owing to their greater size and dramatic command of light and shadow.

They are Kollwitz's highest achievements as an etcher. While working on Peasant War, Kollwitz twice visited Paris, and enrolled in classes at the Académie Julian in order to learn how to sculpt. The etching Outbreak was awarded the Villa Romana prize, which provided for a year's stay, in 1907, in a studio in Florence. Although Kollwitz did no work, she later recalled the impact of early Renaissance art.

Käthe Kollwitz Memorial

Käthe Kollwitz, Poster »Help Russia«, 1921, crayon lithograph (transfer), Kn 170 A I

Käthe Kollwitz Memorial
Modernism Modernism Modernism Modernism Modernism Modernism Modernism Modernism Modernism
World War I World War I World War I World War I World War I World War I World War I
1911 ~ 1928

Modernism
World War I

Kollwitz continued to exhibit her work, but was impressed by the work of younger compatriots—the Expressionists and (following the war) the Bauhaus—and resolved to simplify her means of expression.[20] Subsequent works such as Runover, 1910, and Self-Portrait, 1912, show this new direction. She also continued to work on sculpture.

Kollwitz lost her younger son, Peter, on the battlefield in World War I in October 1914, prompting a prolonged depression. By the end of the year she had made drawings for a monument to Peter and his fallen comrades; she destroyed the monument in 1919 and began again in 1925.[21] The memorial, titled The Grieving Parents, was finally completed and placed in the Belgian cemetery of Roggevelde in 1932.[22] Later, when Peter's grave was moved to the nearby Vladslo German war cemetery, the statues were also moved.

We [women]

aew endowed

with the

strenght to

make sacrifices

which are more

painfulthan

giving our own

blood.

Consequenly,

we are able to

see our own

[men] fight

and die when it

is for the sake

of freedom.

There has been enough dying!

Let mot another man fall!

Käthe Kollwitz Memorial
Grave cross of Peter Kollwitz
at the In Flanders Fields Museum

In 1917, on her 50th birthday, the galleries of Paul Cassirer provided a retrospective exhibition of one hundred and fifty drawings by Kollwitz.Kollwitz was a committed socialist and pacifist, who was eventually attracted to communism; her political and social sympathies found expression in the "memorial sheet for Karl Liebknecht" and in her involvement with the Arbeitsrat für Kunst, a part of the Social Democratic Party government in the first few weeks after the war. As the war wound down and a nationalistic appeal was made for old men and children to join the fighting, Kollwitz implored in a published statement.

Käthe Kollwitz Memorial
Kollzitz lost her young son Petter,
on the battle in World War

While working on the sheet for Karl Liebknecht, she found etching insufficient for expressing monumental ideas. After viewing woodcuts by Ernst Barlach at the Secession exhibitions, she completed the Liebknecht sheet in the new medium and made about 30 woodcuts by 1926. In 1920 Kollwitz was elected a member of the Prussian Academy of Arts, the first woman to be so honored. Membership entailed a regular income, a large studio, and a full professorship. In 1928 she was also named director of the Master Class for Graphic Arts at the Berlin Academy. However, this title would soon be stripped after the Nazi regime rose to power.

1902 ~ 1928
Expressionism - 1910

Death and Woman (Self-Portrait)

Expressionism - 1910
Expressionism - 1919

The Mothers

Expressionism - 1919
Expressionism - 1919

Memorial for Karl Liebknecht

Expressionism - 1919
Expressionism - 1921

Killed in Action

Expressionism - 1921
Expressionism - 1922

The Sacrifice

Expressionism - 1922
Expressionism - 1922

The Parents II

Expressionism - 1922

I do not want to die

until I have faithfully

made the most of

my talent and culti--

vade the see that was

Place in me, until

the last small twig

has grown.

About Life /
Käthe Kollwitz
Käthe Kollwitz Memorial

L
e
g
a
c
y

Kollwtiz made a total of 275 prints, in

etching, woodcut and lithography. Virtually

the only portraits she made during her life

were iamges of herself, of which there are

at least fifty. These self-portraits

constitute a lifelong honest self-appraisal;

"they are psychological milestones".

Official exhibition

Portrait of the Artist: Käthe Kollwtiz was held at the ikon galleria in Birmingham England, from 13 September - 26 November 2017, and is intended to be shown subsequently in Sallsbury, Swansea, Hull and London.

Käthe Kollwitz Memorial

Käthe Kollwitz Museum Köln, established 22 April 1985 in Neumarkt 18-24, Cologne, Germany.

Käthe Kollwitz Memorial
40+

Schools

More than 40 Germany schools are named after Kollwitz. A statue of Kollwitz, by Gustav Seitz, has stood in Kollwitzplatz, Berlin since 1960

02

Sculptures

An enlarged version of a similar Kollwitz sculpture, Mother with her Dead Son, was placed in 1993 at the center of Neue Wache in Berlin, which serves as a monument to "the Victims of War and Tyranny"

1986

The Film

In 1986, a DEFA film "Käthe Kollwitz", about the artist was made with Jutta Wachowiak as "Käthe

14

Characters

Kollwitz is one of the 14 main characters of the series 14 - Diaries of the Great War in 2014. She is played by actress Christina Große

Official exhibition

Portrait of the Artist: Käthe Kollwtiz was held at the ikon galleria in Birmingham England, from 13 September - 26 November 2017, and is intended to be shown subsequently in Sallsbury, Swansea, Hull and London.

The Sculptural Work

Käthe Kollwitz is not only known as a printmaker, but has also made a name for herself as a sculptress. 19 sculptural works out of a total of 43 have been preserved, 15 of which have been copied in bronze.

Sculptures
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Käthe Kollwitz Memorial
Time to drawing

Now that you are already inspired by the amazing paintings of Käthe,
how about exercise you creativity and build a memorable drawing?
Or just for fun, anyways, enjoy it!

Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw Let's Draw