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Käthe Kollwitz"Brotherhood" lithograph by Käthe Kollwitz1941
1941
About the Item
Bold print of "Brotherhood" by Kathe Kollwitz (German, 1867-1945). This piece is one of the Lithographic reproductions of the original lithographs, plate 3 from a series of 10, printed in 1941 by Henry C. Kleemann and Curt Valentin. The lithograph depicts two men embracing, neither of them making eye contact with each other or with the viewer.
Presented in a new black mat with foam-core backing.
Mat size: 20" x 20"
Image size: 11" x 8"
Paper size: 19" x 16"
Numbered "3" in bottom right corner
Kathe Kollwitz is regarded as one of the most important German artists of the twentieth century. Kollwitz created timeless art works concerning the plight of the working class and the effects of war and hardship on everyday people, heavily influenced by her own life experiences. Her most prominent cycles of work are: The Weavers (1898), Peasant War (1902-1908), War (1922-1923), and Death Cycle (1930s).
Kathe was born in 1867 in Konigsberg, East Prussia (now Kalingrad in Russia). She studied art in Berlin and began producing etchings in 1880. In 1881, she married Dr. Karl Kollwitz and they settled in a working class area of north Berlin. From 1898 to 1903, Kathe taught at the Berlin School of Women Artists, and in 1910 began to also create sculptures.
In 1914 her son Peter was killed in Flanders. The loss of Peter contributed to her socialist and pacifist political sympathies. In 1919 she worked on a commemorative woodcut dedicated to Karl Liebknecht, the revolutionary socialist murdered in 1919. Kathe believed that art should reflect the social conditions of the time and during the 1920s she produced a series of works reflecting her concern with the themes of war, poverty, working class life and the lives of ordinary women.
In 1932 the war memorial to her son Peter - The Parents - was dedicated at Vladslo military cemetery in Flanders. Kathe became the first woman to be elected to the Prussian Academy of Arts, but in 1933, when Hitler came to power, she was expelled from the Academy. In 1936 she was barred by the Nazis from exhibiting, her art was classified as 'degenerate' and her works were removed from galleries.
In 1940 Karl Kollwitz died. In 1942 her grandson, Peter, was killed at the Russian front. The next year, she had to leave Berlin due to Allied bombing: her house and much of her work was destroyed. In the spring of 1945, Kollwitz knew she was dying.' War', she wrote in her last letter, 'accompanies me to the end.' She died on 22 April 1945, two weeks before the end of World War II.
- Creator:Käthe Kollwitz (1867-1945, German)
- Creation Year:1941
- Dimensions:Height: 20 in (50.8 cm)Width: 20 in (50.8 cm)Depth: 0.25 in (6.35 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:Some discoloration consistent with age. Mat is new.
- Gallery Location:Soquel, CA
- Reference Number:Seller: JMA 97641stDibs: LU54215790772
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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