“While I drew, and wept along with the terrified children I was drawing, I really felt the burden I am bearing. I felt that I have no right to withdraw from the responsibility of being an advocate.” – Kathe Kollwitz. As the German painter and sculptor, Kathe Kollwitz conveyed in her statement that the art she created held the burden of transfiguration. The fixation of sorrow and hardship that occurred while she sat huddled with the children was the driving force of her drawings. Her realization that
“While I drew, and wept along with the terrified children I was drawing, I really felt the burden I am bearing. I felt that I have no right to withdraw from the responsibility of being an advocate.” – Kathe Kollwitz. As the German painter and sculptor, Kathe Kollwitz conveyed in her statement that the art she created held the burden of transfiguration. The fixation of sorrow and hardship that occurred while she sat huddled with the children was the driving force of her drawings. Her realization that
Käthe Kollwitz’s artwork focuses on her ever-changing belief about death. Infant mortality, death as result of war, and her own relation to death are a few ways in which she associates death in her work. She showed death as a worthy sacrifice, as a villain taking life to soon, and finally as a friend coming to escort her to the thereafter. She had an almost obsessive relationship with death. When death was not physically personified in her work it was an unseen enemy portrayed in her figures faces
Käthe Kollwitz was born on 8 July 1867, into a large middle-class family, in Königsberg, East Prussia. She studied painting in Berlin and Munich but devoted herself primarily to etchings, drawings, lithographs, and woodcuts. She gained firsthand knowledge of the miserable conditions of the urban poor when her physician husband opened a clinic in Berlin. At the age of seventeen Kollwitz moved to Berlin for a year of study at the ‘Künstlerinnenschule’ (‘School for Female Artists’). There she was
The artwork I chose for the art criticism project was ‘The Survivors’ by Kathe Kollwitz. The piece was created in 1923 in Berlin, Germany, where she resided with her husband. She and her husband resided in a poorer area, and it is believed to have contributed too much of her artwork style. ‘The Survivors’ is currently displayed in two museums, the MoMA and the Kathe Kollwitz Museum. In the piece there is a woman directly in the middle, with sunken in cheek bones is draped in a black cloak. Her arms
artists like Kathe Kollwitz, are able to make a resounding call to all people from all classes to advocate for positive change. Art and its purpose have evolved greatly from the cave paintings and fertility Venus figurines to the varied
done by Kathe Kollwitz. “Working Woman with Earring” caught my attention due to the black and white that emphasized the emotional use of color. I analyzed the art piece by considering the following: what I know, what I see, what I feel, the differences between that time in history and now, how the piece of art embodies the culture and values of its time and place and the relationship between the form and content. To begin learning more about the art’s meaning, I researched the artist. Kathe Kollwitz
As I made my way around the Tweed Museum of Art I came across an etching done by Kathe Kollwitz. “Working Woman with Earring” caught my attention due to the black and white that emphasized the emotional use of color. I analyzed the art piece by considering the following: what I know, what I see, what I feel, the differences between that time in history and now, how the piece of art embodies the culture and values of its time and place and the relationship between the form and content. To begin learning
The artwork “Woman with Dead Child” by artist Kathe Kollwitz is mournful, to say the least. When I first looked at this artwork, I felt sympathy and much emotion. A feeling of sympathy for the mother, who lost her child, and the people who had to face the war during this time period. I was surprised when I first came across this artwork, as it is very shocking and severe. When you first see the artwork, you wonder what happened to the child. If you never read the title of the artwork, you may think
Dedicated to Paul Gaugin. Vincent van Gogh. 1888. Oil on canvas. 60.5 x 49.4 cm. Fogg Art Museum, Harvard University Pieta. Anabale Carricci. 1600. Oil on canvas. 149 x 156 cm. Museo Nazionale di Capodimonte, Naples, Italy. Woman with Dead Child. Kathe Kollowitz. 1903. Etching. 39 x 48 cm. To the casual viewer, Modern art is often shocking, amusing, indecipherable and unnerving because art has always been understood in terms of traditional representation. However at the turn of the nineteenth
normally seen as mundane and transform our perceptions and give them new value and meaning. This notion is highlighted through the works of Andy Warhol, who worked with regular, everyday items to give them a new, exclusive look though his practice. Kathe Kollwitz disregarded the convention of mass production decreasing the value of art and massed produced her works with the intention to make them accessible to the working class of Germany during World War II. Ai Weiei has also utilised mass production
Marc turned to animals in his early work to represent purity and inner truth. It is those ideals, perhaps, that are being ravaged in this apocalyptic event. Kathe Kollwitz initially derived the theme of her most powerful piece from the Pieta. She presents a mother holding onto her dead child. Unlike the style of many expressionists, Kollwitz let the color drain from the image, letting line and form bear the ferocity and hopeless despair of maternal grief. The child is limp, the muscular body of the
Print. Shane, Charlotte. “Live Through This.” The New Inquiry, July 26, 2012. https://thenewinquiry.com/live-through-this/. Accessed May 25th, 2018. Rukeyser, Muriel. “Käthe Kollwitz. from The Collected Poems of Muriel Rukeyser.” University of Pittsburgh Press, 2006. https://www.poetryfoundation.org/poems/90874/kathe-kollwitz. Accessed May 25th,
Carriera” she did this to bring remembrance to female artist who to somehow feel under the radar, ones who didn’t make as much of a noticeable impact as some of the bigger names chosen by the other women. Guerrilla two named herself after “ Kathe Kollwitz” Kathe Kollwitz was painter and sculptor who was known for her work of empathy for the less fortunate as well as her descriptive and sometime grueling perspective of the human race and of the tragedies of war. Guerrilla three, named herself after
Sue Coe was born on November 28, 1951, in Staffordshire, England. She is a printmaker and illustrator, and often works with short books and cartoons. For over 30 years, she has been creating works of art to demonstrate political opinions, bring attention to global issues, and speak out against animal cruelty. Having grown up near a slaughterhouse in an area still partially destroyed by World War II, Coe knew early in her life that she would be an artist, wanting to communicate her feelings of contempt
writing and he and his brother Zhou Zuoren both translated some of Poe’s short stories into Chinese, as did Mao Dun (Sheng 149). Lu Xun also shared an attraction to the grotesque and especially admired the woodcuts of German Socialist artist Käthe Kollwitz, in whose works death, poverty, sickness, and oppression were prominent themes. Hence, there may be more underlying historical connections than mere literary similarities between Xiao Hong and Poe. "When two butterflies wondrously alighted