Introduction
  Benjamin, Walter
  Bismarck, Otto v.
  Brecht, Bertolt
  Celan, Paul
  Döblin, Alfred
  Fontane, Theodor
  Grosz, George
  Grünbein, Durs
  Heartfield, John
  Honigmann, Barbara
  Isherwood, Christopher
  Johnson, Uwe
  Kleist, Heinrich v.
  Kollwitz, Käthe
  Kracauer, Siegfried
  Lang, Fritz
  Lasker-Schüler, Else
  Liebermann, Max
  Liebknecht, Karl
  Luxemburg, Rosa
  Marc, Franz
  Ossietzky, Carl v.
  Riefenstahl, Leni
  Ruttmann, Walther
  Schinkel, Karl Friedrich
  Speer, Albert
  Tieck, Ludwig
  Tucholsky, Kurt
  Ury, Lesser
  Varnhagen, Rahel
  Wenders, Wim

 
Kollwitz, Käthe

b. July 8, 1867, Königsberg, East Prussia [now Kaliningrad, Russia]
April 22, 1945, near Dresden

nee Schmidt--German graphic artist and sculptor, an eloquent advocate for the victims of social injustice, war, and inhumanity.

  Käthe Kollwitz, "Self-Portrait," 1910. National Gallery, Berlin.

She grew up in a liberal middle-class family and studied painting in Berlin (1884-85) and Munich (1888-89). After 1890 she devoted herself primarily to graphic art, producing etchings, lithographs, woodcuts, and drawings. In 1891 she married Karl Kollwitz, a doctor who opened a clinic in a working-class section of Berlin. There she gained firsthand insight into the miserable conditions of the urban poor.

Kollwitz' first important works were two separate series of prints, respectively entitled "Der Weberaufstand" (c. 1894-98; "Weavers' Revolt") and "Bauernkrieg" (1902-08; "Peasants' War"). In these works she portrayed the plight of the poor and oppressed with the powerfully simplified, boldly accentuated forms that became her trademark. After 1910 Kollwitz turned to making sculptures for a time. The death of her youngest son in battle in 1914 profoundly affected her, and she expressed her grief in another cycle of prints that treat the themes of the mother protecting her children or the mother with a dead child. For many years Kollwitz also worked on a granite monument for her son, depicting her husband and herself as grieving parents. In 1932 it was erected in a cemetery in Flanders as a memorial.

Kollwitz greeted the Russian Revolution of 1917 and the German revolution of 1918 with hope, but she eventually became disillusioned with Soviet Communism. During the years of the Weimar Republic, she became the first woman to be elected a member of the Prussian Academy of Arts, where from 1928 to 1933 she was head of the Master Studio for Graphic Arts. Despite these honours, she continued to devote herself to socially effective, easily understood art. The Nazis' rise to power in Germany in 1933 led to the removal of her exhibited works in 1934 and 1936.

Kollwitz' last great series of lithographs, "Death" (1934-36), treats that tragic theme with ever starker and more monumental forms that convey a sense of drama. In 1940 Kollwitz' husband died. The aged artist's beloved grandson was killed in action in 1942 during World War II, and the bombing of her home and studio in 1943 destroyed much of her life's work. She died a few weeks before the end of the war in Europe. Kollwitz was the last great practitioner of German Expressionism and was perhaps the foremost artist of social protest in the 20th century. The Diary and Letters of Kaethe Kollwitz was published in 1988.

Source

"Kollwitz, Käthe" Encyclopædia Britannica Online.
<http://www.eb.com:180/bol/topic?eu=47018&sctn=1>