Did any German artist confront the suffering of the first half of the twentieth century as directly as Käthe Kollwitz did? Through the years of war, political turbulence and social strife that defi…

Grief, lamentation and endless suffering expressed with heads and hands in the art of a great German artist Käthe Kollwitz.

Käthe Kollwitz was a German artist who focused on creating portraits of working class women, as well as making a lot of self-portraits. Self Portrait, 1934 Through her compositions, and her use of …

Celebrated in her native Germany, Käthe Kollwitz, born 150 years ago this year, is sadly little known in the UK, but this well-selected touring exhibition of nearly 40 of her prints seeks to put this oversight to rights

Kollwitz’s searing images were so successful at reaching the masses that they became a symbol of Germany’s abortion-rights struggle

Did any German artist confront the suffering of the first half of the twentieth century as directly as Käthe Kollwitz did? Through the years of war, political turbulence and social strife that defi…

Frontal Self Portrait, 1922-23; woodcut The horrors of war are unfortunately ever present; Käthe Kollwitz's images of the emotional and physical ravages of WW I could represent many wars, and they are harrowing. A large group of Kollwitz's drawings and prints associated with her series of seven prints––Krieg (War)––is now on view at the Davis Museum of Wellesley College, and I was very lucky to have had the opportunity to see them. I had previously seen one or two, and many in reproduction, but standing in front of actual drawings and prints on the theme of war was very moving. You can see from her self portrait that she has an uncompromising vision. Pensive Woman, 1920; lithograph Pensive Woman is a heart rending image, so simple yet speaking so clearly of hopelessness. The evening before seeing this show I watched the Netflix film Beasts of No Nation, an overwhelmingly horrifying view of war in an unnamed African nation, and the child soldiers forced into that war. Still shaky from that experience, the Kollwitz works struck me even harder than they might have otherwise. The Widow, 1918; soft-ground etching with hand additions in graphite, charcoal, and brush and gray wash. The slightly open mouth, the sunken eyes, the large open hands, all express grief; that expression is heightened by the depth of black of the widow's dress. Three states of The Parents, 1922-23; woodcut Kollwitz's youngest son was killed at the beginning of WWI, in 1917, on a battlefield in Flanders. A few years later her grief became art: two parents supporting each other in their mourning. The exhibition was interesting in that it presents various states of the final prints for the series, plus drawings. They are a worthy companion to Goya's Disasters of War. Trial proof for a discarded version of The Parents, 1922-23; woodcut I love this deep deep dark version of this image. In her diary she noted that "pain is very dark". The Parents, 1922, Plate 3 from Krieg; woodcut However, the version Kollwitz chose for the series was more open, though still powerful. Mothers Protecting Their Children, 1918; charcoal on laid paper. Another strong theme was mothers trying to protect their children. In this drawing the composition is spread outwards..... The Mothers, 1921; india ink and opaque white watercolor. .....but we can see how Kollwitz intensified the image by having the women huddle together, trying to form an impenetrable mass. The Mothers, Plate 6 from Krieg, 1922; woodcut In the final woodcut, the whites highlight the fearful faces, the enclosing hands. The Widow II, Plate 5 from Krieg, 1921-22; woodcut This is the most awful image of all.... The Survivors, 1922-23; charcoal on laid paper. ....and for the survivors, pain and grief, though with a steadfast will to survive. Why oh why do we do this to ourselves over and over and over again?

I highly recommend the book Visual Theology: Forming and Transforming the Community through the Arts. Click here to read my review, and see below for chapter summaries. VISUAL THEOLOGY AND THE TRAD…

Museums celebrate Käthe Kollwitz's 150th anniversary year, so why is her work shunned by contemporary artists and the market?