suffered anxiety during her childhood due to the death of her siblings, including the early death of her younger brother, Benjamin.
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).
There she studied with Karl Stauffer-Bern, a friend of the artist Max Klinger. At sixteen she began making drawings of working people, the sailors and peasants she saw in her father's offices. Käthe Kollwitz, Self-Portrait, 1921; © 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. While working on the sheet for Karl Liebknecht, she found etching insufficient for expressing monumental ideas. Her most famous art cycles, including The Weavers and The Peasant War, depict the effects of poverty, hunger and war on the work class.
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.
Käthe Kollwitz, née Schmidt , was a German artist who worked with painting, printmaking (including etching, lithography and woodcuts) and sculpture. Katharina grew up in a strict, … Käthe Kollwitz created Rest in the Peace of His Hands to adorn her family grave stone. ; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; Photo by Lee Stalsworth.
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. Raised in a politically progressive middle-class family, Kollwitz enjoyed family support for her artistic ambitions. Kollwitz was the first woman to not only be elected to the Prussian Academy of Arts but to also receive honorary professor status.
In 1928 she was also named director of the Master Class for Graphic Arts at the Berlin Academy. 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. Karl trained as a lawyer, but he declined to practice due to the incongruousness of his political views with the authoritarian Prussian state.
; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay. The etchings of Klinger, their technique and social concerns, were an inspiration to Kollwitz. She was devastated by the suffering and loss of human life, including the loss of a son in the first war and a grandson in the second.
Despite the, realism of her early works, her art is now more closely, associated with Expressionism. 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. 19 sculptural works out of a total of 43 have been preserved, 15 of which have been copied in bronze. . While working on Peasant War, Kollwitz twice visited Paris, and enrolled in classes at the Académie Julian in order to learn how to sculpt. Her father, Karl, Schmidt, was a radical Social democrat who became a mason, and house builder. [20] Subsequent works such as Runover, 1910, and Self-Portrait, 1912, show this new direction. On the other hand, I felt the proletariat had guts. 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.
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