Print Page
Email to FriendKäthe Kollwitz, Gravure à l'eau-forte, Weberzug (March of the Weavers), c. 1893-1897  |
Placer votre curseur ci-contre pour agrandir l'image:
Cliquez sur chaque pièce pour voir comment l'œuvre d'art serait potentiellement regarder:
| Artiste: | Kollwitz, Käthe (1867 - 1945) |
|---|---|
| Titre: | Weberzug (March of the Weavers), c. 1893-1897 |
| Moyen: | Gravure à l'eau-forte |
| Taille d'image: | 11 1/2 in x 8 1/2 in (29.5 cm x 21.6 cm) |
| Taille encadrée: | 31 in x 28 1/4 in (78.7 cm x 71.8 cm) |
| Edition: | From the von der Becke edition between 1963/65 and 1972; According to Knesebeck, this work is a State V d (of V d); with von der Becke's Munich embossed seal in the lower right of the image. |
| Condition: | This work is in excellent condition |
|
Prix
|
Article# 3207
|
| MFA SALE | 50% Off: $3,500 |
|
Read more about our pricing |
|
|
Gallery Price: This is a common gallery retail price Read more about our pricing |
|
|
Request Invitation: We have openings for a few new members each day. Members receive exclusive offers on our entire inventory. |
|
| Description historique: | |
| With contradictory expressions of determination and despair, the weavers march
forward. Kollwitz exemplifies her extraordinary ability to capture human emotion
through the facial expressions of each individual subject. The subjects to the
left near the front of the congregation stare down, their jaws set with grim
determination, while the marches behind them raise their pitchforks in the air
and clench their fists, opening their mouths with exclamations of what the viewer
can only imagine to be motivational or rallying cries. However, not all are
convinced that the march will be successful. The mustached man to the left quietly
holds his ax to his side, an expression of deep sorrow upon his face, while
the mother near the front carries her child upon her back. Hunching forward
she appears burdened both by the weight of her child and the weight of her worries.
The marcher behind her carries a sickle precariously close to her child in an
ominous and foreboding image of death.
This original etching was one of six lithographs and etchings included in the series inspired by Gerhart Hauptmann's, 1893, play entitled the The Weavers. This work is from the von der Becke edition between 1963/65 and 1972; According to Knesebeck, this work is a State V d (of V d); with von der Becke's Munich embossed seal in the lower right of the image. Documented and Illustrated in: About the Framing: | |
| Style: | Expressionism, 20th Century German Modern Expressionist |
About Us: Masterworks Fine Art efforce s'être la meilleure source de bien art pour nos clients et nos collecteurs partout dans le monde. Nous croyons la façon la plus directe pour accomplir ceci est en établant une vie de relations personnelles et professionnelles avec nos clients. Plus de Nous »
Do you own a similar Kollwitz to sell? We offer free evaluations.
La biographie de Käthe Kollwitz
Käthe Kollwitz (1867 - 1945)
One of the most influential and famous German printmakers of the twentieth century, Käthe Kollwitz starkly depicted the plight of the poor and denounced the atrocities of war. Working at a time when many artists used their art to investigate formal problems, Kollwitz devoted herself to describing the human condition. She declined the use of color, letting her vigorously clear and articulate line express urgency and social purpose, and her simplification of form and the absence of extraneous detail contribute to the power of her work.
Käthe Schmidt Kollwitz was born to a large family in East Prussia which valued freedom, mutual respect, social activism, and spiritual dedication. Kollwitz recalled that "from my childhood on, my father had expressly wished me to be trained for a career as an artist, and he was sure there would be no great obstacles to my becoming one."(1)
She began formal training at age fourteen under the engraver Rudolf Mauer, and, at seventeen she moved to Berlin where she enrolled in the School for Women Artists. While a student in Berlin, Kollwitz's teacher encouraged her to seek out the work of Max Klinger. She went to see Klinger's series of etchings A Life at an exhibit which "excited me tremendously."(2) Captivated by Klinger's work and deeply influenced by the writings of Émile Zola, Kollwitz turned to etching and lithography to depict social issues. Her marriage in 1891 to physician Karl Kollwitz, and his medical practice in a poor, working class section of Berlin further exposed her to a wide range of suffering and tragedy which would become the subject of her work over the next fifty years.
1. Hans Kollwitz, ed. The Diary and Letters of Kaethe Kollwitz (Evanston: Northwestern University Press, 1988), 37.
2. Kollwitz, The Diary, 39.
