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323:"The motifs I was able to select from this milieu (the workers' lives) offered me, in a simple and forthright way, what I discovered to be beautiful.... People from the bourgeois sphere were altogether without appeal or interest. All middle-class life seemed pedantic to me. On the other hand, I felt the proletariat had guts. It was not until much later...when I got to know the women who would come to my husband for help, and incidentally also to me, that I was powerfully moved by the fate of the proletariat and everything connected with its way of life.... But what I would like to emphasize once more is that compassion and commiseration were at first of very little importance in attracting me to the representation of
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503:(1895). However, the initial source of Kollwitz's interest dated to her youth when she and her brother Konrad playfully imagined themselves as barricade fighters in a revolution. Not only did Kollwitz have a childhood connection, but an artistic connection as well. She was an advocate for those without a voice and liked to portray the working class in a way no one else saw. The artist identified with the character of Black Anna, a woman cited as a protagonist in the uprising. When completed, the
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312:, where she realized her strength was not as a painter, but a draughtsman. When she was seventeen, her brother Konrad introduced her to Karl Kollwitz, a medical student. Thereafter, Kathe became engaged to Karl, while she was studying art in Munich. In 1890, she returned to Königsberg, rented her first studio, and continued to depict the harsh labors of the working class. These subjects were an inspiration in her work for years.
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in 1918, Kollwitz wrote an impassioned letter to the newspaper he published his call in, stating that there should be no more war, and that "seed corn must not be ground" in reference to young soldiers who were dying in the war. In 1942, she made a piece by the same name, this time in reaction to
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Kollwitz made a total of 275 prints, in etching, woodcut and lithography. Virtually the only portraits she made during her life were images of herself, of which there are at least fifty. These self-portraits constitute a lifelong honest self-appraisal; "they are psychological milestones".
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in
October 1914. The loss of her child began a stage of prolonged depression in her life. By the end of 1914 she had made drawings for a monument to Peter and his fallen comrades. She destroyed the monument in 1919 and began again in 1925. The memorial, titled
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1891:"Nevertheless I am no longer satisfied. There are too many good things that seem fresher than mine... I should like to do the new etchings so that all the essentials are strongly stressed and the inessentials almost omitted." Kollwitz, p. 52.
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riffed on to create anti-war propaganda. Kollwitz wanted to show the horrors of living through a war to combat the pro-war sentiment that had begun to grow in
Germany again. In 1924 she finished her three most famous posters:
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Recognizing her talent, Kollwitz's father arranged for her to begin lessons in drawing and copying plaster casts on 14 August 1879 when she was twelve. In 1885-6 she began her formal study of art under the direction of
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during her childhood due to the death of her siblings, including the death of her younger brother, Benjamin. More recent research suggests that
Kollwitz may have suffered from a childhood neurological disorder
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government in the first few weeks after the war. As the war wound down and a nationalistic appeal was made for old men and children to join the fighting, Kollwitz implored in a published statement:
676:"We are endowed with the strength to make sacrifices which are more painful than giving our own blood. Consequently, we are able to see our own fight and die when it is for the sake of freedom."
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movement, making drawings of working people, sailors and peasants she saw in her father's offices. The etchings of
Klinger, their technique and social concerns, were an inspiration to Kollwitz.
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withheld his approval, saying "I beg you gentlemen, a medal for a woman, that would really be going too far . . . orders and medals of honour belong on the breasts of worthy men." Nevertheless,
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744:, the first woman to hold that position. Membership entailed a regular income, a large studio, and a full professorship. In 1933, the Nazi government forced her to resign from this position.
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In 1891, Kollwitz married Karl, who by this time was a doctor tending to the poor in Berlin. The couple moved into the large apartment that would be
Kollwitz's home until it was destroyed in
1468:"The aim of realism to capture the particular and accidental with minute exactness was abandoned for a more abstract and universal conception and a more summary execution". Zigrosser, Carl:
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1998:"The elements of her nature and her art can often be felt more immediately in the drawings than in the prints, even much that in the latter has scarcely found a fulfillment." Kurth, Willy:
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is described as eerily premonitory as it features a mother searching for her son's body in the night. In all, the works were technically more impressive than those of
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951:; they resolved to commit suicide if such a prospect became inevitable. However, Kollwitz was by now a figure of international note, and no further action was taken.
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and founded an independent congregation. Her education and her art were greatly influenced by her grandfather's lessons in religion and socialism. Her older brother
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in
Birmingham, England, from 13 September – 26 November 2017, and is intended to be shown subsequently in Salisbury, Swansea, Hull and London.
462:). Not a literal illustration of the drama, nor an idealization of workers, the prints expressed the workers' misery, hope, courage, and eventually, doom.
935:. Her work was removed from museums. Although she was banned from exhibiting, one of her "mother and child" pieces was used by the Nazis for propaganda.
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In 1928 she was also named director of the Master Class for
Graphic Arts at the Prussian Academy. However, this title would soon be stripped after the
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winner for fiction. In the book, Vollmann describes the lives of those touched by the fighting and events surrounding World War II in
Germany and the
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She was evacuated from Berlin in 1943. Later that year, her house was bombed and many drawings, prints, and documents were lost. She moved first to
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The production of this series lasted from 1902 to 1908 due to many preliminary drawings and discarded ideas in lithography. It was inspired by the
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and their failed revolt in 1844. Kollwitz was inspired by the performance and ceased work on a series of etchings she had intended to illustrate
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On her 70th birthday, she "received over 150 telegrams from leading personalities of the art world," as well as offers to house her in the
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While working on the sheet for Karl
Liebknecht, she found etching insufficient for expressing monumental ideas. After viewing woodcuts by
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939:"They give themselves with jubilation; they give themselves like a bright, pure flame ascending straight to heaven."
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Capturing the
Essence of their Vision and Form: A Treasury of Art Works by Women from the Hofstra Museum Collection
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Her silent lines penetrate the marrow like a cry of pain; such a cry was never heard among the Greeks and Romans.
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of 1524–1525, when oppressed peasants in southern Germany took arms against the nobility and the Church. As with
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1964:
Moorjani, Angela (1986). "Kathe Kollwitz on Sacrifice, Mourning, and Reparation: An Essay in Psychoaesthetics".
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After her return to Germany, Kollwitz continued to exhibit her work but was impressed by younger compatriots.
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She outlived her husband (who died from an illness in 1940) and her grandson Peter, who died in action in
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1951:"I stood before the woman, looked at her—my own face—and wept and stroked her cheeks." Kollwitz, p. 122.
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exhibitions, she completed the Liebknecht sheet in the new medium and made about 30 woodcuts by 1926.
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Working now in a smaller studio, in the mid-1930s she completed her last major cycle of lithographs,
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1692:"Kaethe Kollwitz (1867–1945): the artist who may have suffered from Alice in Wonderland Syndrome"
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Between the births of her sons – Hans in 1892 and Peter in 1896 – Kollwitz saw a performance of
2195:"Man schweigt in sich hinein – Käthe Kollwitz und die Preußische Akademie der Künste 1933–1945"
573:
2086:
Apel, Dora (1997). ""Heroes" and "Whores": The Politics of Gender in Weimar Antiwar Imagery".
992:. Kollwitz died just 16 days before the end of the war. She was cremated and honoured with an
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Käthe Kollwitz, Geleitwort zum Katalog der Ausstellung in der Deutschen Akademie der Künste,
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nominated her work for the gold medal of the Great Berlin Art Exhibition of 1898 in Berlin,
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Sharp, Ingrid (2011). "Käthe Kollwitz's Witness to War: Gender, Authority, and Reception".
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1061:. Her chapter is entitled "Woman with Dead Child", after her sculpture of the same name.
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who became a mason and house builder. Her mother, Katherina Schmidt, was the daughter of
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artists inspired Kollwitz to simplify her means of expression. Subsequent works such as
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1981:
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Schaefer, Jean Owens (1994). "Kollwitz in America: A Study of Reception, 1900–1960".
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566:. Although Kollwitz completed no work there, she later recalled the impact of early
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Ingrid Sharp, “Käthe Kollwitz’s Witness to War: Gender, Authority, and Reception,”
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1973:
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provided a retrospective exhibition of one hundred and fifty drawings by Kollwitz.
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cemetery of Roggevelde in 1932. Later, when Peter's grave was moved to the nearby
201:; 8 July 1867 – 22 April 1945) was a German artist who worked with
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Modern dance in Germany and the United States : crosscurrents and influences
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889:. The work shows a mother, arms cast over three young children to protect them.
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906:– centerpiece of what is today a memorial to "victims of war and dictatorship".
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was installed in Kollwitzplatz, Berlin in 1960 where it remains to this day.
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in Berlin, which serves as a monument to "the Victims of War and Tyranny".
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699:. She expressed her political and social sympathies in her woodcut print, "
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She produced a cycle of six works on the weavers theme, three lithographs (
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1527:(in German), vol. 12, Berlin: Duncker & Humblot, pp. 470–471
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Marchesano, Louis; Natascha, Kirchner (2020). Marchesano, Louis (ed.).
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1876:"But there, for the first time, I began to understand Florentine art."
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Käthe Kollwitz exhibit with the National Museum of Women in the Arts
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1977:
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802:. Much of this art was inspired by pro-war propaganda which she and
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Baskin, Leonard (1959). "Four Drawings, and an Essay on Kollwitz".
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In 1919 Kollwitz was appointed to the position of professor at the
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499:, this body of work may have been influenced by a Hauptmann play,
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The cycle was exhibited publicly in 1898 to wide acclaim. But when
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authorities forced her to resign her place on the faculty of the
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of her early works, her art is now more closely associated with
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2316:"Berlin Journal; The War Memorial: To Embrace the Guilty, Too?"
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Hannelore Fischer for the Käthe Kollwitz Museum Cologne (Ed.):
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2434:"Theaterliebe: Interview mit Matthias Freihof zu "Coming Out""
2062:"Käthe Kollwitz and the Women of War | Yale University Press"
319:. The proximity of her husband's practice proved invaluable:
249:. Kollwitz was the first woman not only to be elected to the
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Käthe Kollwitz in the collection of The Museum of Modern Art
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Kollwitz lost her younger son, Peter, on the battlefield in
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562:. This prize provided a year's stay in 1907 in a studio in
346:
1758:. Los Angeles: Getty Research Institute. pp. 18, 30.
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life; what mattered was simply that I found it beautiful."
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In 1888/89, she studied painting with Ludwig Herterich in
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There has been enough of dying! Let not another man fall!
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Gerhart Hauptmann, quoted by Zigrosser, page XIII, 1969.
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Kollwitz is one of the 14 main characters of the series
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In 2012, an exhibition of her work was curated for the
281:, a Lutheran pastor who was expelled from the official
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In July 1936, she and her husband were visited by the
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An enlarged version of a similar Kollwitz sculpture,
2483:"Das Leid, der Schmerz, die Angst sind stets gleich"
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Bittner, pp. 6–7. During this time she also visited
2200:(2000) Issue 9, pp. 157–166. Retrieved 8 July 2010
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Collection, at the Instituto de Estudos Brasileiros
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1336:Käthe Kollwitz. A Survey of her Works. 1888 – 1942
1080:are named after Kollwitz. A statue of Kollwitz by
570:art she experienced during her time in Florence.
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2253:
2213:Kelly, Jane (1998). "The Point is to Change It".
2019:
2017:
1671:: Works in Color, p. 6. Random House, Inc., 1988.
1215:Musée d'art moderne et contemporain of Strasbourg
1197:Musée d'art moderne et contemporain of Strasbourg
988:, where she lived her final months as a guest of
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680:In 1917, on her 50th birthday, the galleries of
487:Kollwitz's second major cycle of works was the
256:but also to receive honorary professor status.
2796:Academic staff of the Prussian Academy of Arts
2766:Recipients of the Pour le Mérite (civil class)
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2014:
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546:Kollwitz visited Paris twice while working on
2536:"Ikon Portrait of the Artist: Käthe Kollwitz"
1959:
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477:became Kollwitz' most widely acclaimed work.
2647:Elizabeth A. Sackler Center for Feminist Art
2394:Official website. Retrieved 30 January 2011
2382:Official website. Retrieved 26 November 2017
1043:in 1946. Käthe Kollwitz is a subject within
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338:(1893). Print. This exemplary housed at the
1107:, established in 1960, is named after her.
900:in Berlin, with Käthe Kollwitz's sculpture
1954:
1903:
1880:The Diaries and Letters of Kaethe Kollwitz
1576:. Jutta Bohnke-Kollwitz. Berlin: Siedler.
664:, was finally completed and placed in the
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2293:. Chur: Harwood Acad. Publ. p. 122.
1755:Käthe Kollwitz: prints, process, politics
580:, a memorial to Kollwitz's son Peter, in
411:, which dramatized the oppression of the
377:, due to its sensory hallucinations and
289:became a prominent economist of the SPD.
2668:Newspaper clippings about Käthe Kollwitz
1963:
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1545:"Biographical Sketch of Dr. Julius Rupp"
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1319:The Widow I (1922-23), woodcut from the
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915:In 1933, after the establishment of the
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554:in 1904 to learn to sculpt. The etching
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225:. Her most famous art cycles, including
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1904:McCausland, Elizabeth (February 1937).
1229:Bust of a Working Woman in a Blue Shawl
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1802:: 24–36 – via Danielleknafo.com.
1551:. S. Tinsley & Company. p. xx
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1158:Portrait of the Artist: Käthe Kollwitz
1103:are dedicated solely to her work. The
1070:, was placed in 1993 at the center of
972:Kollwitz-Schmidt burial plot in Berlin
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1882:, p. 45. Henry Regnery Company, 1955.
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1470:Prints and Drawings of Käthe Kollwitz
1133:by the art historian Corinna Kirsch.
880:called for more soldiers to fight in
844:Death Reaches for a Group of Children
774:in woodcut form, including the works
646:Grave cross of Peter Kollwitz at the
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2480:
2314:Kinzer, Stephen (15 November 1993).
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2041:National Museum of Women in the Arts
1621:. Hempstead, NY: Hofstra University.
817:Never Again War ("Nie Wieder Krieg")
2711:People from the Province of Prussia
2151:10.5250/womgeryearbook.27.2011.0087
2143:10.5250/womgeryearbook.27.2011.0087
1789:"The Dead Mother in Käthe Kollwitz"
1099:, and the Käthe Kollwitz Museum in
834:, which consisted of eight stones:
13:
2564:. Museum of Modern Art, New York.
2037:"Käthe Kollwitz: About the Artist"
2026:
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1549:Reason and Religion by Julius Rupp
1402:"Johanna Hofer, née Johanna Stern"
1338:, Hirmer publishers, Munich 2022,
1267:, 1908, National Museum in Wrocław
1153:marked Kollwitz's 150th birthday.
1142:in 2014. She is played by actress
708:" and in her involvement with the
695:, who was eventually attracted to
396:The March of the Weavers in Berlin
359:
241:on the working class. Despite the
14:
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2806:19th-century German women artists
2801:20th-century German women artists
2589:
2511:"Käthe Kollwitz's 150th Birthday"
2432:Schall, Johanna (10 March 2011).
1118:, about the artist was made with
632:as German soldier, 2 October 1914
364:It is believed Kollwitz suffered
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1690:Drysdale, Graeme R. (May 2009).
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990:Prince Ernst Heinrich of Saxony
102:Zentralfriedhof Friedrichsfelde
2562:Käthe Kollwitz—A Retrospective
2488:Frankfurter Allgemeine Zeitung
2287:Partsch-Bergsohn, Isa (1994).
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1459:. Leipzig: E. A. Seeman, 2005.
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1446:, p. 1. Thomas Yoseloff, 1959.
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2821:19th-century German sculptors
2771:German Expressionist painters
2741:20th-century German sculptors
1362:
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1139:14 - Diaries of the Great War
1039:. The dance was performed in
929:following her support of the
507:consisted of seven etchings:
2776:20th-century German painters
2731:German people of World War I
2380:Käthe Kollwitz Museum Berlin
1696:Journal of Medical Biography
1357:List of German women artists
1280:Working Woman (with Earring)
1171:of her work was held at the
870:Seed Corn Must Not Be Ground
848:Death Struggles with a Woman
375:Alice in Wonderland syndrome
7:
2672:20th Century Press Archives
2412:Akademie der Künste, Berlin
2268:Zigrosser, page XXII, 1969.
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1078:More than 40 German schools
911:Later life and World War II
809:Germany's Children Starving
670:Vladslo German war cemetery
582:Vladslo German war cemetery
10:
2837:
2633:Union List of Artist Names
2481:Bopp, Lena (27 May 2014).
2392:Käthe Kollwitz Museum Köln
2002:, N.F., Vol. XXXVII, 1917.
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442:) and three etchings with
336:Self-Portrait at the Table
69:North German Confederation
2643:Käthe Kollwitz Exhibition
2359:52.5363839°N 13.4173625°E
2198:Berlinische Monatsschrift
1472:, page XIII. Dover, 1969.
1444:Kaethe Kollwitz; Drawings
1037:Dances for Käthe Kollwitz
1003:
917:National-Socialist regime
687:Kollwitz was a committed
648:In Flanders Fields Museum
589:Modernism and World War I
297:, a friend of the artist
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16:German artist (1867–1945)
2629:Entry for Käthe Kollwitz
2620:Entry for Kathe Kollwitz
2182:Women in German Yearbook
2131:Women in German Yearbook
1838:The Massachusetts Review
1787:Knafo, Danielle (1998).
1570:Kollwitz, Käthe (1989).
1543:Rasche, Anna C. (1881).
1524:Neue Deutsche Biographie
1457:Homage to Käthe Kollwitz
1169:retrospective exhibition
1067:Mother with her Dead Son
1035:'s dance school created
998:Friedrichsfelde Cemetery
903:Mother with her Dead Son
550:and took classes at the
283:Evangelical State Church
264:
233:, depict the effects of
2761:German modern sculptors
2706:Artists from Königsberg
2227:10.1093/oxartj/21.2.185
1708:10.1258/jmb.2008.008042
1617:Rahim, Habibeh (1994).
1517:Wirth, Irmgard (1980),
1455:Fritsch, Martin (ed.),
1431:Encyclopædia Britannica
1131:University of Minnesota
949:Nazi concentration camp
194:[kɛːtəkɔlvɪt͡s]
2791:Académie Julian alumni
2751:German modern painters
2746:German women sculptors
2612:Quotations related to
2560:Figura, Starr (2024).
2408:"Käthe Kollwitz Prize"
2364:52.5363839; 13.4173625
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840:Death with Girl in Lap
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2781:German women painters
2661:31 March 2012 at the
1175:in New York in 2024.
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836:Woman Welcoming Death
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517:Sharpening the Scythe
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352:Woman with Dead Child
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269:Kollwitz was born in
190:German pronunciation:
2786:German lithographers
2604:at Wikimedia Commons
1380:Orden Pour Le Mérite
1173:Museum of Modern Art
1105:Käthe Kollwitz Prize
852:Death on the Highway
711:Arbeitsrat für Kunst
662:The Grieving Parents
578:The Grieving Parents
493:German Peasants' War
452:March of the Weavers
340:Milwaukee Art Museum
37:Käthe Kollwitz, 1927
2355: /
1484:Woman's Art Journal
1306:Library of Congress
1265:Whetting the Scythe
1055:National Book Award
1045:William T. Vollmann
926:Akademie der Künste
766:In the years after
521:Arming in the Vault
2756:Modern printmakers
2736:German printmakers
2726:Lutheran pacifists
2460:"Commanding Heart"
2321:The New York Times
2215:Oxford Art Journal
1932:– via JSTOR.
1878:Kollwitz, Kaethe:
1442:Bittner, Herbert,
1127:Weisman Art Museum
1031:and what had been
1017:
974:
908:
864:The Call of Death.
860:Death in the Water
702:memorial sheet for
586:
560:Villa Romana Prize
399:
373:(sometimes called
357:
344:
295:Karl Stauffer-Bern
2816:Women printmakers
2716:German communists
2600:Media related to
2300:978-3-7186-5557-1
2193:Dorothea Körner,
1812:Bittner, pp. 4–5.
1765:978-1-60606-615-7
1680:Bittner, pp. 1–2.
1519:"Kollwitz, Käthe"
1344:978-3-7774-3079-9
1087:Four museums, in
965:two years later.
932:Dringender Appell
856:Death as a Friend
716:Social Democratic
471:Kaiser Wilhelm II
403:Gerhart Hauptmann
183:
182:
2828:
2721:German pacifists
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2599:
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2119:
2088:The Art Bulletin
2083:
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2074:
2072:
2058:
2052:
2051:
2049:
2047:
2033:
2024:
2021:
2012:
2011:Kollwitz, p. 89.
2009:
2003:
1996:
1990:
1989:
1972:(5): 1110–1134.
1961:
1952:
1949:
1943:
1940:
1934:
1933:
1906:"Käthe Kollwitz"
1901:
1892:
1889:
1883:
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1804:
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1739:
1737:
1735:
1726:. Archived from
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1629:
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1534:
1531:full text online
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1391:
1389:
1387:
1376:"KÄTHE KOLLWITZ"
1372:
1321:Mario de Andrade
1316:
1294:
1276:
1261:
1247:The Young Couple
1243:
1225:
1207:
1189:
1160:was held at the
896:The interior of
714:, a part of the
642:
631:
618:
558:was awarded the
537:After the Battle
533:After the Battle
196:
191:
82:
56:
54:
35:
21:
20:
2836:
2835:
2831:
2830:
2829:
2827:
2826:
2825:
2811:Women engravers
2681:
2680:
2663:Wayback Machine
2651:Brooklyn Museum
2592:
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2259:Bittner, p. 15.
2258:
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2247:Bittner, p. 13.
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2184:27, (2011): 95.
2179:
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2171:Bittner, p. 11.
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2100:10.2307/3046258
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2080:
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2060:
2059:
2055:
2045:
2043:
2035:
2034:
2027:
2023:Bittner, p. 10.
2022:
2015:
2010:
2006:
1997:
1993:
1978:10.2307/2905713
1962:
1955:
1950:
1946:
1941:
1937:
1902:
1895:
1890:
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1730:on 29 June 2009
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1156:An exhibition,
1144:Christina Große
1120:Jutta Wachowiak
1006:
913:
874:
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751:rose to power.
742:Academy of Arts
705:Karl Liebknecht
651:
650:
643:
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625:
619:
591:
552:Académie Julian
485:
389:
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360:Personal health
275:Social Democrat
267:
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254:Academy of Arts
231:The Peasant War
189:
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38:
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17:
12:
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2691:Käthe Kollwitz
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2617:
2614:Käthe Kollwitz
2605:
2602:Käthe Kollwitz
2591:
2590:External links
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2462:. Star Tribune
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2013:
2004:
1991:
1953:
1944:
1942:Bittner, p. 9.
1935:
1922:10.2307/771494
1893:
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1868:
1855:
1828:
1826:Bittner, p. 6.
1814:
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1741:
1682:
1673:
1669:Käthe Kollwitz
1660:
1658:Bittner, p. 4.
1646:
1644:Bittner, p. 3.
1637:
1631:Kurth, Willy:
1624:
1606:
1604:Bittner, p. 2.
1597:
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1573:Die Tagebücher
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984:, a town near
912:
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878:Richard Dehmel
873:
867:
827:
821:
780:The Volunteers
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653:
652:
645:
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635:
623:Peter Kollwitz
621:
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595:Expressionists
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355:, 1903 etching
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186:Käthe Kollwitz
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1859:
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1844:(1): 96–104.
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1796:Art Criticism
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1151:Google Doodle
1147:
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776:The Sacrifice
773:
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728:Ernst Barlach
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682:Paul Cassirer
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132:Karl Kollwitz
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122:Expressionism
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79:22 April 1945
78:
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47:Käthe Schmidt
45:
41:
34:
29:
22:
19:
2616:at Wikiquote
2561:
2555:
2543:. Retrieved
2540:Ikon Gallery
2530:
2518:. Retrieved
2514:
2505:
2493:. Retrieved
2486:
2476:
2464:. Retrieved
2458:Abbe, Mary.
2453:
2441:. Retrieved
2438:Theaterliebe
2437:
2427:
2415:. Retrieved
2411:
2402:
2387:
2375:
2337:
2325:. Retrieved
2319:
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2197:
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2134:
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2091:
2087:
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2069:. Retrieved
2065:
2056:
2044:. Retrieved
2040:
2007:
2000:Kunstchronik
1999:
1994:
1969:
1965:
1947:
1938:
1916:(2): 20–25.
1913:
1909:
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1871:
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1831:
1808:
1799:
1795:
1782:
1754:
1732:. Retrieved
1728:the original
1699:
1695:
1685:
1676:
1668:
1667:Fecht, Tom:
1663:
1640:
1632:
1627:
1618:
1600:
1572:
1565:
1553:. Retrieved
1548:
1538:
1529:; (
1522:
1512:
1490:(1): 29–34.
1487:
1483:
1477:
1469:
1464:
1456:
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1429:
1421:
1409:. Retrieved
1405:
1396:
1384:. Retrieved
1379:
1370:
1335:
1297:
1279:
1264:
1246:
1228:
1210:
1192:
1166:
1162:Ikon Gallery
1157:
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1137:
1135:
1124:
1115:
1109:
1086:
1082:Gustav Seitz
1076:
1065:
1063:
1059:Soviet Union
1048:
1036:
1027:
1023:
1018:
1014:Gustav Seitz
996:in Berlin's
975:
963:World War II
960:
953:
942:
938:
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924:
914:
901:
887:World War II
875:
869:
863:
859:
855:
851:
847:
843:
839:
835:
831:
829:
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816:
812:
808:
799:
795:
792:The Widow II
791:
787:
783:
779:
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771:
765:
759:
755:
746:
736:
725:
721:
709:
700:
686:
679:
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661:
654:
606:
605:, 1910, and
602:
592:
577:
555:
547:
545:
540:
536:
532:
528:
524:
520:
516:
512:
508:
504:
500:
496:
489:Peasant War.
488:
486:
481:
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459:
455:
451:
439:
435:
431:
424:
417:Langenbielau
406:
400:
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374:
371:dysmetropsia
363:
350:
335:
322:
317:World War II
314:
307:
291:
268:
230:
226:
198:
185:
184:
174:
164:Maria Matray
91:Nazi Germany
81:(1945-04-22)
18:
2701:1945 deaths
2696:1867 births
2545:12 November
2495:10 December
2491:(in German)
2396:(in German)
2362: /
2327:10 December
2202:(in German)
2137:: 193–221.
2046:21 February
1382:(in German)
1110:In 1986, a
1033:Mary Wigman
882:World War I
796:The Mothers
788:The Widow I
784:The Parents
768:World War I
749:Nazi regime
657:World War I
626: [
568:Renaissance
548:Peasant War
541:The Weavers
505:Peasant War
497:The Weavers
482:Peasant War
475:The Weavers
415:weavers in
408:The Weavers
386:The Weavers
325:proletarian
299:Max Klinger
279:Julius Rupp
227:The Weavers
215:lithography
209:(including
207:printmaking
108:Nationality
57:8 July 1867
2685:Categories
2580:2023951307
2443:30 January
2350:13°25′03″E
2347:52°32′11″N
1774:1099544287
1555:7 November
1411:1 February
1406:knerger.de
1363:References
1329:Literature
1298:Die Mütter
1097:Moritzburg
1072:Neue Wache
1029:Dore Hoyer
1012:Statue by
982:Moritzburg
980:, then to
978:Nordhausen
921:Nazi Party
898:Neue Wache
800:The People
440:Conspiracy
421:Émile Zola
271:Königsberg
156:(brother)
89:, Saxony,
87:Moritzburg
61:Königsberg
53:1867-07-08
2159:142560257
1910:Parnassus
1149:In 2017,
1101:Koekelare
1053:, a 2005
994:Ehrengrab
732:Secession
697:communism
689:socialist
584:, Belgium
448:sandpaper
379:migraines
223:sculpture
150:Relatives
2659:Archived
2116:27242388
2071:11 March
1850:25086460
1724:39662350
1716:19401515
1592:21270954
1351:See also
1300:, 1922,
1282:, 1910.
1249:, 1904.
1231:, 1903.
1213:, 1897.
1195:, 1892.
804:Otto Dix
739:Prussian
693:pacifist
564:Florence
556:Outbreak
444:aquatint
426:Germinal
413:Silesian
251:Prussian
219:woodcuts
203:painting
197:born as
138:Children
118:Movement
2674:of the
2670:in the
2649:at the
2645:at the
2631:on the
2466:16 July
2417:2 April
2235:1360622
2108:3046258
1986:2905713
1504:1358492
1428:at the
1386:15 July
1302:woodcut
1179:Gallery
1129:at the
1093:Cologne
1041:Dresden
986:Dresden
945:Gestapo
730:at the
666:Belgian
603:Runover
599:Bauhaus
509:Plowing
460:The End
432:Poverty
366:anxiety
303:Realism
243:realism
235:poverty
211:etching
199:Schmidt
166:(niece)
161:(niece)
65:Prussia
2578:
2568:
2520:9 July
2297:
2233:
2157:
2149:
2114:
2106:
1984:
1930:771494
1928:
1866:twice.
1848:
1772:
1762:
1722:
1714:
1590:
1580:
1502:
1342:
1211:Misery
1089:Berlin
1004:Legacy
919:, the
872:(1942)
862:, and
815:, and
798:, and
531:, and
525:Charge
458:, and
438:, and
310:Munich
287:Conrad
221:) and
171:Awards
128:Spouse
112:German
2231:JSTOR
2155:S2CID
2147:JSTOR
2112:S2CID
2104:JSTOR
1982:JSTOR
1926:JSTOR
1846:JSTOR
1792:(PDF)
1734:3 May
1720:S2CID
1635:1951.
1500:JSTOR
1114:film
876:When
832:Death
826:Cycle
824:Death
813:Bread
760:Krieg
630:]
513:Raped
436:Death
265:Youth
2576:LCCN
2566:ISBN
2547:2017
2522:2017
2497:2018
2468:2024
2445:2019
2419:2022
2329:2018
2295:ISBN
2073:2017
2048:2020
1770:OCLC
1760:ISBN
1736:2009
1712:PMID
1588:OCLC
1578:ISBN
1557:2014
1413:2022
1388:2020
1340:ISBN
1112:DEFA
1095:and
691:and
456:Riot
446:and
229:and
217:and
179:1929
143:Hans
76:Died
43:Born
2676:ZBW
2622:in
2223:doi
2139:doi
2096:doi
1974:doi
1970:101
1966:MLN
1918:doi
1704:doi
1492:doi
1047:'s
772:War
756:War
423:'s
405:'s
381:).
239:war
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2229:.
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2217:.
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2135:41
2133:.
2110:.
2102:.
2092:79
2090:.
2064:.
2039:.
2028:^
2016:^
1980:.
1968:.
1956:^
1924:.
1912:.
1908:.
1896:^
1840:.
1817:^
1800:13
1798:.
1794:.
1768:.
1744:^
1718:.
1710:.
1700:17
1698:.
1694:.
1649:^
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1486:.
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1378:.
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1167:A
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1000:.
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1976::
1920::
1914:9
1852:.
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