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Käthe KollwitzTOD UND FRAU (DEATH AND WOMAN)1910
1910
About the Item
Kollwitz, Kathe. TOD UND FRAU (DEATH AND WOMAN). Knesebeck 107, State VII; Klipstein 103. Line etching, drypoint, sandpaper, soft ground with imprint of granulated tone paper and Ziegler’s transfer paper, and roulette, 1910. Signed in pencil, lower right. In State VII Richter’s address is removed, leaving the engraved script along the lower edge of the plate, at left: “Orig. Rad. von Käte Kollwitz” and at right: “Druck v. O. Felsing, Berlin-Chlttbg." This edition, printed in brown ink on copperplate paper was published by Von der Becke in 1931. 17 5/8 X 17 9/16 inches, 448 x 446 mm. (plate). In excellent condition.One of the several large plates on the theme of Death, Mother, and Child which Kollwitz did in 1910. In the others, the struggle is between the Mother and Death for the life of the Child; in this one it is the Child who tries to save the Mother from Death. One of Kollwitz's most powerful and tragic images.
- Creator:Käthe Kollwitz (1867-1945, German)
- Creation Year:1910
- Dimensions:Height: 30 in (76.2 cm)Width: 30 in (76.2 cm)Depth: 2 in (5.08 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Portland, ME
- Reference Number:
Käthe Kollwitz
Käthe Kollwitz (1867 – 1945) was a German artist who studied both painting and printmaking. However she turned exclusively to print making in the early 1890s. Influenced by fellow German artist Max Klinger, she saw the potential of the print for social commentary. Prints could be reproduced inexpensively and in multiples, allowing her to reach more people.. Her most famous art cycles, including "A Weavers' Revolt" and "Seven Woodcuts on War", depict the effects of poverty, hunger and war on the working class. Despite the realism of her early works, She is now more widely associated with German Expressionism. Kollwitz was the first woman to be elected to the Prussian Academy of Arts. For the next 50 years she produced dramatic, emotion-filled etchings, woodcuts, and lithographs. Initially, her husband’s working-class patients were models. But eventually Kollwitz’s subject matter became a reflection of her own experience as a witness to both World Wars. 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. Although Kollwitz’s wrenching subjects and virtuoso technique soon made her work popular throughout Germany and the Western world, they also generated controversy. In 1933, the Nazi government forced her to resign her position as the first female professor appointed to the Prussian Academy; soon thereafter she was forbidden to exhibit her art.
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