Events

Käthe Kollwitz (1867-1945), the most important female artist of classical Modernism in Germany, is unmatched in her works for the emphatic representation of war, poverty and death, but also of love, security and the struggle for peace. Her drawings, prints and sculptures brought her worldwide renown even during her lifetime. From Spring 2022, a new monograph will give an overview of her entire artistic work. The catalogue will feature over 200 illustrations, arranged by topic, and provide a representative selection from the collection of the Käthe Kollwitz Museum in Cologne. The Cologne Kollwitz Collection has the largest stock of drawings, prints and sculptures worldwide and is a dedicated ambassador for the artist’s work. This new standard reference with text contributions by the museum’s art historians will be published in a German and English edition. The presentation of the catalogue will be accompanied by a special exhibition at the Käthe Kollwitz Museum Köln which will – in line with the catalogue – present the topic areas of her work. It is not just her artistic skill that still fascinates people from around the world, but also the timeless emotional clout of her work. This is why the exhibition will be complemented by a special facet – the museum staff presenting their personal collection highlights. These subjective contemplations are a personal impulse and convey a profound connection with the artist.

Raw, unembellished and decried in conservative circles as ‘gutter art’, the life of Käthe Kollwitz (1867 –1945) was dominated by a tireless political commitment expressed through the resources of art. ‘I want to exert influence in these times’, she writes in one of her celebrated diary entries. This attitude comes through in many of her graphic series, such as ‘A Weavers’ Revolt’ and the ‘Peasants’ War’, which leave us in no doubt about whom she is speaking for and what side of society she is on. With key drawings, rare proof prints and sculptures that have long since become canonical, the exhibition covers the full spectrum of her output. Posters reveal the profoundly political dimension of her art: here, more clearly than in other media, we can see Kollwitz’s enthusiasm for works ‘that exert influence’.