Eighty-three moving works: The Weavers, The Peasant War, War, Death, and others. "To see the beautiful examples of her work reproduced . . . is to sit at the feet of a great modern master." — School Arts.
One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!
The Dresden Kupferstich-Kabinett (Museum of Prints, Drawings and Photographs of the Staatliche Kunstsammlungen Dresden) has particularly important and unique holdings of the work of the German graphic artist Käthe Kollwitz (1867?1945). Kollwitz formed a long association with Max Lehrs (1855?1938), a leading art historian and then the director of the Dresden Kupferstich-Kabinett, and Lehrs became Kollwitz?s discerning supporter. 0The catalogue tells the circumstances and story of the earliest public holding of Kollwitz?s work to be established and of Kollwitz?s full development of her major themes? of war and death, of motherhood and love, and not least of self-portraiture, one of the most fascinating aspects of her oeuvre. 00Exhibition: Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, Germany (19.10.2017-14.01.2018).0.
One of the great German Expressionist artists, Kaethe Kollwitz wrote little of herself. But her diary, kept from 1900 to her death in 1945, and her brief essays and letters express, as well as explain, much of the spirit, wisdom, and internal struggle which was eventually transmuted into her art.
Käthe Kollwitz (1867-1945), a leading 20th century German artist, was known for her drawings, prints, and sculptures. In a career spanning more than five decades in a largely male-dominated art world, Kollwitz developed powerful and emotional imagery based on her own experiences, her interactions with working-class women in Berlin, and her exposure to the horrors of two world wars. While her naturalistic style at first appeared to be out of touch with the currents of abstraction that were becoming dominant during her lifetime, her depictions of universal human experiences, the depth and emotional power of her dense networks of lines and light and dark contrasts, were a potent reflection of her time that continue to resonate today. This publication examines the richness and depth of Kollwitz's work and features more than 100 colour and black and white reproductions of her engravings, drawings, and sculptures, largely drawn from the collection of the Art Gallery of Ontario as well as essays by Brenda Rix on Kollwitz's life and art and by Brian McCrindle on building the Kollwitz collection.
Published on the occasion of the centenary of World War I, this Bulletin, which accompanies the related exhibition “World War I and the Visual Arts,” on view at The Met until January 7, 2018, explores the myriad and often contradictory ways in which artists responded to the world’s first modern war. Drawn primarily from The Met’s collection of works on paper and supplemented with loans from private collections, both presentations move chronologically from the initial mobilization in early August 1914 to the tumultuous decade that followed the armistice of November 1918. Ranging from expressions of bellicose enthusiasm to sentiments of regret, grief, and anger, the selected works—from prints, photographs, and drawings to propaganda posters, postcards, and commemorative medals—powerfully evoke the conflicting emotions of this complex period. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
Primitivism versus modernity: the expressionist dilemma - Politics of primitivism - Brucke bathers: back to nature - Max Pechstein's visionary ideas - Emil Nolded.
Käthe Kollwitz (1867-1945) developed a mastery of graphic art which quickly established her reputation in Germany, then further afield as her influence spread internationally after the First World War. Establishing herself in an art world dominated by men, Kollwitz developed a vision centred on women and the working class. 'Portrait of the Artist' looks at her work through the exploration of self-portraits and portraits of working women, her two great series concerned with social injustice: Ein Weberaufstand (A Weavers' Revolt, 1897) and Bauernkrieg (Peasants' War, 1908), the ever-present imagery of death, especially a mother's grief, and finally the theme of war and remembrance after her younger son, Peter, had been killed at the beginning of the First World War. The exhibition is drawn from the collection of the British Museum and is complemented by a small number of loans from a private owner and The Barber Institute of Fine Arts at the University of Birmingham.