Archives for posts with tag: Käthe Kollwitz

2013-09-08 16.38.42

I’m going to talk about my summer project tonight. In a previous post I shared an extract from Kathe Kollwitz diary, which showed her reaction to her dismissal from the Prussian Academy. In the extract Kollwitz discussed the “silence” that came down around her. She seemed dismayed that nobody talked to her. She became an outcast. Though it could be argued that she was outcast from society all her life because of her sex and her views.

However, within the artistic community of the time Kollwitz was not alone in her views. In the elections that were held before 1933 there was growth in support for both the socialists and the communists. The SPD ( the socialist party in Germany ) had been the majority party in the many coalition governments since 1918. But the SPD influence and success was limited from day one. The Left wing parties split early on in the Republic (SPD and KPD) over many issues, on of the main ones being the Ebert – Groener Pact and the continuing  existence of the old elite including army Generals such as Ludendorff and Von Hindenburg. General Von Hindenburg would go on to become President  and give Hitler the Chancellorship in 1933. The German revolution was as much a revolution from above as it was from below. The old elite had dreams of reinstating the monarchy and as the saw it making Germany great again. However Kollwitz and many others like herself had been snubbed by the old elite because of their socialist views. On of Kollwitz’s greatest and earliest, the series The Weaver’s Uprising was not well received by the elite or the Kaiser. He refused for Kollwitz to be awarded a gold medal for her work. She would later achieve recognition for this work as within the artistic community it was praised. The weaver’s series was greatly liked by Adolf Menzel a prominent German artist of the time. It was he who put her forward for the gold medal. The Weaver’s Uprising consisted of six images; poverty, Death, Conspiracy, Weavers on the march, Attack and the End. In my opinion it was probably a pretty accurate portrayal of life for farming communities. Problems with agriculture and farming continued into and beyond world war one. Even before the hyperinflation of 1923/24 farmers were struggling and calling out for land reforms. The reforms didn’t happen and any that did had little effect.

Kollwitz was deeply affected by the war and the death of her son, Peter in 1914. At the end of the war she wrote: “Peter and millions, many millions of other boys, all betrayed.” Germany had lost the war, many were starving and sick. The country had been led to believe they were winning or had a chance if winning right up until the end. They felt cheated and betrayed. And for what, a dead Arch duke from a different country and a couple of dreadnoughts? Of course that is a very simple take on a few of the many reasons for the beginning of WW1. Kollwitz was not alone in her grief over the death of her son, she saw the war-torn families that came into her husbands surgery. Kathe Kollwitz expressed herself through her work ( German expressionists fancy that they expressed themselves ). But more than that she was able to empathise with the everyday man or woman on the street, she could capture their anguish and their troubles because they were her troubles to. I feel she was a very down to earth person, who really believed in her views and carried through with them to the best of her ability. She is a voice for the forgotten millions of inter war Germany. When everybody else thinks of Art Deco and the rise of Hitler. Others will remember the people of Germany and their survival and the artists who painted them who over shadowed by a regime.

Many people were forced out of their jobs once the Nazis came into power, it began with the Jews and supporters of the Left. But like Kollwitz wondered what did her colleagues make of her dismissal?, what did the man on the street think of the SA smashing his Jewish grocers windows? It’s hard to know for sure what the general populace thought of these actions. Historians such as Ian Kershaw and Saul Friedlander have discussed this topic at length in their respective books on the Nazi’s anti – Semitic policies. To break it down people fell into the categories of indifferent, supportive and resistant towards such policies. Many people simply wanted to survive, whether that meant supporting or opposing Nazi policies. When the Nazi’s did an early boycott of Jewish owned businesses, many Germans found it most baffling, they just wanted to do their shopping and say hello the  shopkeeper they had been going to for years. Many helped clean up the glass from the smashed windows. This was early days of course and I do not wish to discuss what lies down that road tonight. This is a very complex series of events in history. I think it is one of the most interesting periods but at the same time one of the most traumatic. In historical terms, these events are  still very fresh and recent. Books by the likes of Kershaw and Friedlander on the opinions of the average German 1918 – 1945 are relatively new. I highly recommend their books, as they give an insight into the many different facets of Germany and German life from 1933 to 1945.

Here is a link to the Spartacus history website which has an extensive page on Kathe Kollwitz : http://www.spartacus.schoolnet.co.uk/ARTkollwitz.htm (SIMKIN, J. Kathe Kollwitz. accessed 7.10.2013.)

Drawings from summer project - Kathe Kollwitz.

Based off of a Kathe Kollwitz woodcut, zoomed in on a little girl clutching her spoon. brush and ink with a fine liner black pen to tidy up the edges. Kollwitz had the ability to capture the faces and the emotions of the impoverished and downtrodden of Germany without making them mawkish or melodramatic. She drew real people. This probably not the kind of artwork that comes to mind when you mention the 20’s or 30’s. Art Deco was the prominent style of this era. It was profitable and people liked the glitz and glamour of it. But in Germany this Golden Age lasted only a few years ( the golden age of Weimar) in between two horrendous episodes of economic difficulties. the hyperinflation 1923 to 24 during which an estimated 8 million Germans were unemployed. The hyperinflation was rectified by Gustav Stresemann but this economic, cultural and social golden age did not last and was not all that golden. WW1 had left Germany scarred, emotionally and physically. With the overnight collapse of Wall street in 1929, many of the political reforms and treaties made between Germany and the rest of the world were made redundant. Most prevalent were the loans that the USA had given a struggling Germany, which were now swiftly recalled. has the whole of the western world went into economic collapse.

Things did improve in Germany in the inter – war years, but as Kollwitz’s work shows there was a large potion of society left deeply effected by the war and at odds with the government. The many coalition governments that occupied the Reichstag between 1918 to 1933 were interesting to say the lest.

2013-09-08 16.35.06

As I was saying in my previous post, Kathe Kollwitz was a pretty amazing person. She faced get adversity ( in simple terms she was hated on by the Kaiser pre WW1, then after WW1 she was hated on by the communists, the socialist coalition government which was influenced by the monarchists, and then hated on by the Nazis. ) In addition she suffered many personal tragedies, the death of her son in WW1, the death of her grandson in WW2 and the death of her husband. Her work was extremely personal to her because of this. She was set apart due to her political views and also because she was female.  From 1933 onwards Kollwitz like many other leftists began to lose everything, she was forced out of her position at the Prussian Academy, she was questioned and threatened by the Gestapo, her artwork was banned and put into the Nazis Degenerate art show or Entartete Kunst. Her husband was banned from working as a doctor in Berlin. Her large sculpture studio at the academy was trashed and her family home and studio was bombed during the Berlin Bombing meaning much of her work was lost or destroyed along with her personal items. Kollwitz’s last series of works concerned her relationship with death. Kollwitz was no stranger to portraying death, exploring her own mortality and it can be seen in her artwork that she had anticipated her own death. One of these such works is a simple charcoal drawing showing Kollwitz reaching up to death beckoning hand. Kollwitz died just before the end of the war in 1945. From her own death at the end of her career to revolution at the beginning of her career. Kollwitz told the stories of the people of Germany who went against the tide and those who were drowning in it. She was one of a few artists who chose this subject matter within Germany at this time while others concentrated on the glitz and glamour of the highly lucrative art deco lifestyle.

Here is a link to the page on the Moma website all about Kathe Kollwitz :

http://www.moma.org/collection_ge/browse_results.php?criteria=O:AD:E:3201|A:AR:E:1&role=1 ( HESS, H. Kathe Kollwitz bio. accessed 25.9.2013.)

Kathe Kollwitz inspired drawings for my summer project.

Two drawings inspired by two of Kollwitz’s works, the one on the left is a close up of her drawing of a mourning mother/widow, inspired by her own experiences. The one on the right is my version of one of her many self – portraits.

Kollwitz worked primarily in woodcut and lithography. I will be trying my hand at lithography in a couple of weeks. I’ve looked it up and its fairly straightforward just a lot of stages and a lot of washing plates. Woodcut on the other hand is simpler, you get a piece of wood and some shape implements and carve out an image. Which you then ink up and place paper on and repeat and add to as many times as you want to create a more details image. The expressionists favoured woodcut as its difficult and hard going to carve. But this made it more emotive and more expressive. It also worked well with harsh subject matters and really lets the image and its story shine through in simple black and white. Though Kollwitz trained as a painter, most of her work consisted of series of lithographs or woodcuts and pencil and charcoal studies. She also created sculptures. Though after her dismissal from the Prussian academy is lost her large sculpture studio. And was unable the carry on with that avenue of her work.

The Japanese also used woodblock printing. Though some printing techniques may seem tedious they were and are quicker and more reliable than replicating images by hand. Moveable type and printed image are essential to communication design. They make art accessible, affordable and efficient. Mass production of art and text is part of illustration. Prints can be mass produced but they can also be limited edition or single copies giving them infinite value.

Book used for help with this post –  Martin, J. (1993) The Encyclopaedia of  Printmaking Techniques. Quarto Publishing.

more pictures for my summer project

Sketchbook pages, on the left is a portrait of Kathe Kollwitz by me and on the left is just general doodles by me.

drawings that i gone and done for my summer project, Kathe Kollwitz Inspired!

Based on a Kathe Kollwitz woodcut, zoomed in and in charcoal. my poor wee urchin, he’s only got one eye.

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I realised I should probably post about my summer project. Our brief was to explore “what has gone before”. Now when you type the history of illustration into Google, what comes up is pretty vague and useless. Perfect excuse to buy some illustration books off amazon. The book that I found most helpful was “Illustration, a visual history” by Heller & Chwast Abrams. As it containes the main illustrative movements and styles. Which was really helpful for me as I didn’t really know a lot about the history of illustration, and I didn’t want to pick my favourite illustrator, Mike Mignola. I wanted to go further back, see if I could trace some of my favourite styles back to their origins. I also really love history, if I hadn’t got into DJCAD, I would be in second year at Stirling studying history and religion. So the first half of my project sketchbook is just written research and pictures exploring the history of illustration. I eventually settled on the work of the German Expressionists, specifically Kathe Kollwitz. This period of German history is an era that fascinates me. I studied Germany’s inter-war years for my Advanced Higher and wrote my dissertation on it as well. So finding Kathe Kollwitz, was amazing, a woman who lived and worked pre WW1 to the end of WW2. Her work is so refreshing and simple to me, as well as her story. She drew the reality of war and the inter – war years in Germany, something which isn’t really discussed. She was a woman beyond her time, and so were her parents, when she told her father she was getting married he feared it would ruin her artistic career. It didn’t, in a way her career flourished when she and her husband, a doctor, moved to Berlin. She really cared about the war torn impoverished families who visited her husbands clinic. Her political and moral sensibility probably had a lot to do with this, but also the fact that she herself was no stranger to sorrow, as she lost her son in WW1. Her opinion towards war changed greatly from this moment onwards. In December 1943 she wrote in her diary:

Every war already carries within it the war which will answer it. Every war is answered by a new war until everything is smashed … that is why I am so wholeheartedly for a radical end to this madness and why my only hope is in a world Socialism, Pacifism simply is not a matter of calm looking on, it is work, hard work.”

Kathe Kollwitz was a pretty amazing lady. I find her work so inspiring, its expressive but its not fake. Its real and gritty. I admire her bravery.

Links and References :

Here is a link to the Kathe Kollwitz Museum website : http://www.kaethe-kollwitz.de/museum-en.htm (accessed 24.9.2013.)

Heller, S. Chwast, S. (2008) Illustration: A Visual History. New York. Abrams.

Kollwitz, K. (1955) The Diary and Letters of Kathe Kollwitz. Henry Regnery.