2024-25
Mitra FAMILY GRANT Recipient
Simplicity in Feeling, Totality of Grief: An Analysis of the Manifestation of Käthe Kollwitz’s Personal Experiences in Her Art
Mu Jia Jiang
SimplicityinFeeling,TotalityofGrief:AnAnalysisoftheManifestationofKätheKollwitz’s
PersonalExperiencesinHerArt
MuJiaJiang
2025MitraFamilyScholar
Mentors:Ms.DonnaGilbert,Ms.BronwenCallahan,andMs.MeredithCranston
April14,2025
OnOctober22,1914,GermanartistKätheKollwitz’slifewaschangedforever.Oncea happymotherwithtwosons,KollwitzhadjustgottenwordthatheryoungersonPeterperished whilefightingontheWorldWarIbattlefield.1 Hisdeathsparkedalongperiodofreflection withinher,asshestruggledwithheremotions,grief,andexpression.Sheturnedtoherdiaryand artasformsofrelease:onewasaplacewhereshecouldvoiceherinnerthoughtsandtheother waswhereshecouldshareherpoignantandpersonalinsightswiththeworld.
Kollwitzemphasizedtheexperiencesofcommonpeopleandwomen,settingthemasher protagonists.Shewasalreadymarginalizedduetoheridentityasawoman,butshefoundthat shewasabletochallengeherstatusandthestatusofotherGermanwomenwithherartwork. Whileneverflashy,herdetailedprintstriedtocapturetheplightandfeelingsofmiseryand helplessness,experimentingwithdepictionsofstarvation,limitedresourcesforwomen,and separationoffamilies.Givenherownperceptionofmotherhoodandexperiences,shestrivedto empathizewithothercommoners,shownthroughsomeofherearlierworksportrayingthetoils oftheworkingclass,suchasheretchingseriesthe Weaver’s Revolt.
ThefeelingofbeingawomanandofbeingamotherconnectedKollwitzuniversallyto otherwomenofthetime.Eventhoughsheneverhadtoexperiencecertaineventslikeabortion, shecommentedonthemasanadvocate,someonenotdirectlyinvolvedbutratherpassionate aboutspeakingupforthegrouptheywereapartof,mainlydoingsobyreproducingcopiesof printsshehadcreated,astheformwaseasytoreplicateanddisperse.However,aftertheFirst WorldWar,shefellintoapositionwheresheessentiallybecameoneofthewomenshewas tryingtofree.Shewasamotherwholosthersononthebattlefieldandhadtofindwaystocope withhisdeath.So,whatwasKollwitz’struemotivation?Perhapsshewillberememberedasa
1 KätheKollwitz, The Diary and Letters of Kaethe Kollwitz,ed.HansKollwitz(Evanston,Ill.:Northwestern UniversityPress,1995),63
fighter,someonecontestingfortheliberationofotherwomenfromtheirtraditionalconstraints. Butwhatisoftenoverlookedisthatshewasalsoalostmother,fightingnotjustforothersbut withtheminherownstruggleswithloss.
Despiteheravidfightforhumanitariancauses,Kollwitzcitedinherdiarythatshenever consideredherselfa“revolutionist.”2 ThispaperexploresKollwitz,andherportrayalofherself, especiallythroughherprints.Viewingherlifeandherstoryisessentialtounderstandingher desiresasanartist,andthroughherworks,Kollwitzwasdescribedtohavebeendrivenmainly byherowndesirestoexpressthecomplicatedfeelingsthatcamewithgrieving,especially copingwiththedeathofalovedoneandalleviatingthepainthataccompaniedtheloss.Thisled hertobecomeveryintentionalwiththeformandfunctionofherpieces,eachpresentinga differentintent.WhileKätheKollwitzdidseektopromoteafeministagendathroughheractivist prints,herwoodcuts,amediumthatsheconsistentlyexperimentedwith,cannotbecategorizedas aformofadvocacyartworkbutratherasamethodofpersonalexpressionsheused,especially withregardtohertraumaandgrief.
EarlyLifeandInfluences
BornKätheSchmidt,KollwitzgrewupinKönigsberg,anEastPrussiancity 3 Hermother, KatharinaSchmidt,dedicatedherselftoraisingKätheandhersiblingsandpossessedareserved natureandan“undemonstrativeness.”4 However,Kollwitz,unlikehermother,wasalways emotionallyaware.Shedescribedherselfasachroniccrier,someonewhocouldn’tcontrol herselffrombawling.5 Kollwitzwouldcrysomuchthatonce,hersisterJuliebroughtasugar cubetostuffinhermouthincaseshewasonthevergeofburstingintotearsinpublic.6
2 Kollwitz,100
3 StarrFigura,"KätheKollwitz:AnIntroduction,"in Käthe Kollwitz: A Retrospective (NewYorkMuseumof ModernArt,2024),17
4 MarthaKearns, Käthe Kollwitz : Woman and Artist (OldWestbury,NY:FeministPress,1976),3
5 Kollwitz, The Diary,17.
6 Kollwitz,17
WhileKollwitzwasdeeplyandconstantlyaffected,Katharinaremainedaloofand“never surrenderedtothedeepsorrow,”evenafterexperiencingthelossofthreeofherchildren.7 Kollwitzcouldneverbecalmandcollectedlikehermother,beginningtofeelintouchwithher emotionswhilepossessinganinterestingandalmostobsessiverelationshipwithdeathfroma youngage,specificallyafterherbrotherBenjamin’ssuddendeath.8 Shealwayshadstrong feelingsandempathy,and“couldsensedistinctlyhow[hermother]wassuffering.”9 Anddespite thedistanceKatharinaunintentionallycreatedbetweenherandherdaughter,Kollwitzlovedher. Benjamin’sdeathsparkedinKollwitzadeepfearoflosinghermother,andshebecame constantlyparanoidaboutexperiencingfurtherloss.Shesometimesevenwishedthatthedeaths ofherparentshadalreadyhappened,justsoshedidnothavetolivethroughgrief.10 Froma youngage,Kollwitzhadalreadydemonstratedthatshegrappledwithheavyemotionalbaggage. Whenshewasyoung,Kollwitzalsostruggledwithotherconcepts,includingsexuality andreligion.AshermotherwasraisedbyastrictChristianfather,shedidnotanswerthe questionsKollwitzhadwithregardtoloveandtosex,perhapsduetothemoralstandardsthe religionimposeduponher.11 Nonetheless,despiteherfamily’sstrictreligiousupbringing, KollwitzgrewupwithadetachmenttoGod. She“wasaware…thattherewasaChristian‘dear Lord,’but[she]didnotlovehim.Hewasanutterstrangerto[her].”12 Theseenigmaticconcepts continuedtofollowKollwitzthroughoutherentireartisticcareer.Grief,genderandsexuality, andreligionwouldalleventuallybeexploreddeeplyinherart.
7 Kearns, Käthe Kollwitz,4
8 DorothyPrice,"TheShadowofDeath:MaternalGriefintheArtofKätheKollwitz,"in Käthe Kollwitz: a Retrospective (NewYorkMuseumofModernArt,2024),31
9 Kollwitz, The Diary,19
10 Kollwitz,20
11 Kearns, Käthe Kollwitz,12.
12 Kollwitz, The Diary,19
Kollwitzwasalwaysatalentedartist.Atelevenyearsold,shehadalreadycompleteda full-scalepaintingdepictingMartinLutherburningthepapalbull,amonumentalmomentin Germanreligioushistory 13 Asshegrewup,shefeltemboldenedtopursueacareerasanartist withsupportfromherfather,KarlSchmidt,whichwasararityinnineteenthcenturyGermany fordaughterswhodidnotcomefromwealthyfamilies.14 Evenhermother,whowasusuallycold, recognizedandactivelynurturedKollwitz’sabilities.15 Atthetime,womenwereunabletoattend publicartschoolssponsoredbythegovernment,soKollwitzenrolledatBerlin’sZeichnen-und MalschuledesVereinsderKünstlerinnen(SchoolofDrawing/PaintingattheAssociationof WomenArtists).16 Withthetalent,dedication,andsupport,Kollwitzfelt“keenlyambitious,”set onpursuingthisartisticcareerfurther 17 However,thisambitioneasilycreatedaperfectionist mindsetandwiththatcameanaturalfeelingofjealousy.Shefeltabitternessemergewhenher sisterLisewascomplimentedforherart,thoughsheknewthatthisresentmentwaswrong. Essentially,Kollwitz’sgreatestenemybecameherselfandthestandardssheimposedupon herself.HersonHansevenbelievesherdiaryrevealedherdualityofbeing:herconditionof struggling“withtheantagonistwithinherself,”anartistwhoconstantlywasunsatisfiedwithher work,recreatingituntilitwasperfectinhereyes.18 Thisforceofhabitisseenthroughouther career,asshecontinuouslybuildsontopofoldworksandremakesthemintonewones.Inthe beginningofherstudiesattheartschool,Kollwitzintendedtopaint,butundertheguidanceof KarlStauffer-Bern,shewasdirectedtothegraphicarts.19 Thus,Kollwitzbeganherencounter withdrawingandeventuallytheprint.
13 Kearns, Käthe Kollwitz,20.
14 Figura,"KätheKollwitz,"18
15 Kearns, Käthe Kollwitz,20.
16 ElizabethPrelinger,"KollwitzReconsidered,"in Käthe Kollwitz,byElizabethPrelinger,etal (Washington: NationalGalleryofArt,1992),14.
17 Kearns, Käthe Kollwitz,21
18 Kearns,115.
19 Prelinger,"KollwitzReconsidered,"14.
Kollwitz’sformalintroductiontothegraphicartsstartedwhensheviewedtheworksof oneofStauffer-Bern’sfriends,MaxKlinger.Focusingprimarilyonetching,Klingercraftedall ofhisworksbyhimself,notrelyingonthehandsofotherstocreatehisart.20 Hepresentedthe ideaof“reporting”toKollwitz,amethodthatpaintingcouldnotreplicate.21 Whilepainting,an artistisconfinedtotheboundariesofthecanvas,utilizingdifferentshadestocreateanalmost imaginaryvisual,idealizingimageswithadornationsofcolor.Butformslikedrawing,physically creating,couldshowexperiences,aviewofreallife.Asshebegantocomeincontactwiththis formofartand“reporting,”Kollwitz’sappreciationandadmirationforKlinger’sworksgrew.
22
Throughhisetchingseries A Life,Klingersoughttoprovidesocialcommentaryabouta womanwhosuffersafterbecomingentangledinaforbiddenloveaffair 23 Itseemsasifthemain characterofthepieceisbeingplaceduponapedestal,observedandridiculedbypassersby(see figure1).While Caught includesanexaggeratedperceptionofthecentralfemalefigureinthe workthatcontributestoaspiritualandmagicaleffectKlingerwishestocreate,thedarknessand solemnitythatwashesoverthescenecapturesarealistessence,andsimulatesthetrueexperience ofawomanwhocrumblesundersocietalpressureandviewsplaceduponheractions.Klinger wouldalsoprovidehisownopinionondeaththroughalaterseriestitled On Death, Part One, revealingthatdeathiswhatconnectspeopleandthattheinevitablefateiseventual,nomatterthe socioeconomicstatusorbackground.24
20 Prelinger,15
21 Figura,"KätheKollwitz,"18
22 Kollwitz, The Diary,39
23 ElizabethPendletonStreicher,"MaxKlinger'sMalereiUndZeichnung:TheCriticalReceptionofthePrintsand TheirText," Studies in the History of Art 53(1996):231,JSTOR.
24 Streicher,231
Figure 1 Klinger, Max Caught from the Series A Life, 1884 Etching and aquatint, 615 x 45 x 2 cm The MetropolitanMuseumofArt.
TheswitchtodrawingwasabackandforthendeavorforKollwitz.WithStauffer-Bern’s passing,herfatherencouragedhertoreturntopainting.25 ButKollwitz’sheartwasnolongerin painting.ReadingMaxKlinger’s Painting and Drawing brochure,shecametoarealization:she couldnotenvisionherselfasapainter,especiallybecauseshehadalreadyfeltforawhilethat colorwasher“stumblingblock.”
26 Ifshewereprinting,therewasnoobligationtocreateutilizing colors.
Eventually,Kollwitzwasabletoletgoofpainting,theformshelovedsodearly,bothdue totheinfluenceofKlingerandbecauseofherownperceptionofherself.Shefeltincompetentas apainter,burdenedbyhershortcomingswhileworkingwiththeform.“Withmyeyes,Ialways paintverywellbutwithmyhandsI’mdeficient,”shewrote,areflectionofherperfectionism
25 Kollwitz, The Diary,40.
26 Kollwitz,40
mindsetandinternaldoubt.27 Theonlyupsidewasthatherpersonalinsecuritieshelpedthe transitiontothegraphicarts,andforthefirsttimeinherlife,Kollwitzabandonedclassical methodsforgood.
Printmaking
MosttwentiethcenturyGermanartists,notjustKollwitz,werebigfansofprintmaking, withthemediumbeingseeninworksbyOskarKokoschka,ErnstBarlach,MaxBeckmann,and artisticgroupDieBrücke.28 However,theprintmakingmovementwasnotnew,insteada long-standingtraditionwithrootsdatingbacktosixteenth-centuryGermany.29
Theoldestformofprintmakingwasthewoodcut,anditsorigindatesbacktoTang DynastyChina,wherethetechniquelaterquicklyspreadtootherpartsofEastAsialikeKorea andJapan,integratingintotheirartsbytheeighthcentury 30 Thewoodcutlatermadeitswayinto Germanyinthefourteenthcentury,andwhilethesourcebehinditsmassspreadisunknown,its practicebecameprevalentinGermanyandinotherEuropeancountries,asGermansfelta specificsenseofprideintheirprints.Theyinventedthesecountlessvariationsofprinting,and afterJohannesGutenberg’sinventionoftheprintingpressin1450,theprintmakingprocesswas expeditedtoencompassmassproduction,withanabilitytodisperseinformationatahighrate.31 Thereproductivenatureofprintswasoneofthemainreasonsthetechniquebecamesopopular, asthequickeramessagewasspread,thebroaderaudienceitwasabletoreach,whichwaslater commonlyassociatedwiththecommunicationofthepresstothepublic.32 Thus,manypeople usedthegraphicarts,specificallywoodcuts,asatoolinadvancingthecomprehensionof
27 Prelinger,"KollwitzReconsidered,"14.
28 AliciaFaxon,"GermanExpressionistPrints,aPersistentTradition," The Print Collector's Newsletter 14,no 1 (1983):3,JSTOR.
29 Faxon,3
30 Kylie Fisher, "Printmaking in Europe, c. 1400 1800," Smarthistory, last modified August 18, 2020, accessed March 6, 2025, https://smarthistoryorg/printmaking-europe-14001800/
31 Fisher.
32 Faxon,"GermanExpressionist,"3
literature,oftenhavinglittleprintsaccompanylongtextsasasupplementalpicture.33 Theywere seenaspracticalandasfunctional,helpingreadersestablishconnectionstowrittentexts, especiallyinthecontextofvisualizingreligion.34
Withsuchhighconfidenceinprints,artistsbegantotransformprintsintoartpieces,and themostwell-knownofthemallwasAlbrechtDürer,whosetaprecedentinthefieldof engravings,etchings,andwoodcuts.35 Knownasanmaster,Dürerwasabletoconquerthese stylesthatwerewidelyregardedaslabor-intensiveacts,andhiswoodcutswerereveredandhad anexpansiveimpact,beingtransformedintomosaicsduringtheRenaissanceperiodandeven Russianfrescoesintheseventeenthcentury,atestamenttohisartistry.
36
Meanwhile,othersbegantheprocessofexperimentationwithdifferentprintingforms, whicheventuallyledtothecreationoflithography.CreatedbyAloysSenefelderduetoan accident,itisquiteflexibleintermsofthelimitationsofwhattheartistcando.37 Thelithography processischemical;itreliesonthefactthatwaterandgreaserepeltocreateareactionthat allowstheinktostickontotheprint,alotoftheworkwasalreadycompleteastheartistsetsthe print.
38 Becauseofthisnature,simplykeepingthesurfaceofaprintingwetwouldallowforan easyreproductionprocess.39 Italsobecomeseasytoaddcertaintouches,mostnotablymultiple colorstocreateagradientortintedeffect,whichisquitedifficultinthewoodcuts.40
Thus,Germanybecametheforerunnerintheprintingworld,havingthemachinery necessary,masterfulartists,andevennewprinterswhoinventeddifferenttechniques.Thisled
33 CynthiaA Hall,"BeforetheApocalypse:GermanPrintsandIllustratedBooks,1450-1500," Harvard University Art Museums Bulletin 4,no.2(1996):9,JSTOR.
34 Hall,9
35 FlorensDeuchler,"ALBRECHTDÜRER," The Print Collector's Newsletter 2,no 1(1971):4,JSTOR
36 Deuchler,5
37 LouisPrang,"Lithography," Modern Art 4,no 3(1896):83,https://doiorg/102307/25609933
38 "PrintmakingProcesses:Lithography,"video,Youtube,postedbyMinneapolisInstituteofArt,June24,2008, accessedJanuary18,2025,https://wwwyoutubecom/watch?v=JHw5 1Hopsc
39 Prang,"Lithography,"84.
40 Prang,84
printmakingtoquicklybecomeingrainedwithinGermanartisticculture,andasalongstanding andrecognizablemovement,artistsbegantogravitatetowardsthestyle.InKollwitz’searlier years,whenshewasfirstbeginningtoutilizethegraphicarts,shepreferredetching,asitallowed hertocapturescenesinhyperrealistmanners.
Itwasalsoatthistimethatshealsobegantofeelfascinatedbytheideaofthe“struggle,” feelingasenseofsatisfactionafteretchingasceneinÉmileZola’snovel Germinal,finally pleasedwiththecomposition,ararityforsomeonewithsuchaperfectionistmindset(seefigure 2).41 Tocreatethispiece,Kollwitzwentthrougha handfulofvariations,andthisinitialencounter withtheportrayalofhumanity’sgrapplingwithexternalconditionsmoldedafascinationwith thissensationofstruggleandhowpeoplecouldcope.Inherearlyexperimentswiththeprint,in thiscasetheetching,Kollwitzutilizesfinedarklinestoportraythisrealisticbattle.
Theetchingalsoestablishesabackground,anddespite thecontortioninspace,clearly depictsanaturalscenethatcanbeclassifiedasaRealistpiece,asitportraysordinarypeople
41 Kollwitz, The Diary,40
placedinanormalsetting.However,observingKollwitz’sworksintheInterwaryears,herprint techniquesvarieddrastically,asshechangedfromlithographytowoodcut,andoftenutilized moreExpressioniststyles,anintentionaldecisiononherpart.TofigureoutpartofKollwitz’s motivationforthisswitch,itisimportanttounpackcertainelementsoftheseprintsinbothform andfunction.
Thefirstdistinctionisinthehow,theselectionofthewayinwhichtheseprintswere made.Thelithographyprocess,whilealittlemoredifficultthanetchingduetoitschemical nature,wasthesecondformofgraphicartKollwitztried.Shevieweditastheeasiestformshe haseverworkedwith,writingaboutitwithhintsofdisdain,whichmadeitseemlikesheonly turnedtoitintimesofdespairandlittleinspiration.Lithographywastheoneformshecould “manage,”asitwas“hardlyatechniqueatall”and“sosimple.”42 Lithographywasamethod Kollwitzcouldcounton,onethatsheexperimentedwithbecauseshecould,andnotbecauseshe wantedto.Shealsoheavilyblameditsrelianceonthischemicalreaction,asmanytimesher figuresbecamesmudged,duetoproblemswiththetransferoftheimage,whichtoherwasa failure.
43
Ontheotherhand,thewoodcutprocessdeeplyinvolvestheartist’sownhand,asthey choosethevariabilitiesintextureandcolortheywanttocreate.44 Themainchallengeforanartist whowantstoworkwiththewoodcutisthecounterintuitiveprocessofcreation.Normally,to painters,thesubjectsaredrawndirectlyontoacanvas,thecompositionbeingtransmitted directlyfromtheartist’simagination.Butwithwoodcuts,insteadofartistsindentingtheimages theywishtoportrayinapiece,theyhavetochipawayattheunwantedparts,whichwaswhythe
42 Kollwitz,94
43 Kearns, Käthe Kollwitz,160
44 "Woodcutprintingprocess.,"video,Youtube,postedbyHamishBruce,November22,2017,accessedJanuary12, 2025,https://wwwyoutubecom/watch?v=eWHJ3iK2PWk
mediumrequiredsuchstrongefforts.Whileitismorecommontoutilizerubberinthemodern day,artistsusedtophysicallyandtediouslybreakthroughthewood,creatingdesignsoutofthe contrastbetweentheraisedandsunkensectionsofthewood.Theprocessistougherandalittle moreviolent,allowingtheartisttogaugeafeelofthewoodandwhattheyhaveengraved.Butit isessentialthatlinesretainacertainthicknesstothem,astoomuchexertedpressurewould causecrackstobeginforming.45 Thewoodcutsallowedtheartiststofeeleachstepofthework theywerecreating,whichallowedformorepersonaltouchesinstyle.
Theseconddistinctionisinthewhy,thedifferenceinwhichwoodcutscouldreveal certainmessagesorembodyexclusivecharacteristics.Expressionistwoodcuts,especiallythatof DieBrücke,upholdothervaluesaswell:theyarecharacterizedbyhowphysicallytellingof emotiontheyare,withthebodysooverwhelmedandoverpoweredbysensationsthatthey becomelengthened,oftenbeing“twistedandelongated.”46 Whilethelinesthatmakeupthe pieces’compositionsarenotasfineasthatofDürer’s,theirthicknessaddsaboldness.
45 Fisher,"PrintmakinginEurope,"Smarthistory
46 ErnstScheyer,"GermanExpressionistPrints,DrawingsandWatercolors:DieBrücke," Bulletin of the Detroit Institute of Arts 45,no 3/4(1966):45,JSTOR
Figure 3. Kirchner. ErnstLudwig. Standing Nude,SignetoftheBrückeArtist’sGroup,1907.Woodcut,11.1x3cm. TheArtInstituteofChicago
InthisprintedpiecebyDieBrückememberErsntLudwigKirchner,thebodyofthe centralfigureisexaggeratedtofillalargeportionofthelengthofthepageand,despitehaving anoutlineofafigure,hasdisproportionatefeatures(seefigure3).Thewoodcut’soblongshape stretchesthesubjectandcontortsit,asitslowertorsofacessidewayswhileitsuppertorsofaces tothefront.However,whilethebodyofthisfigureandbodiesofmanyothersweretwisted,their facialexpressionsremainedsimple,withshort,bluntcutsformingthebasisoftheface.
AlthoughKollwitzwasneveranofficialmemberofthegroup,herworkdisplays similarities,whichcouldreflectbothherdesiretofindnovelwaysofself-expressionwhile
followingthetrendsofmodernityofhertime.47 Kollwitzwouldelevatethewoodcutby combiningrealistandexpressionistelementstoevokeemotionthroughoutherpieces.
Peter
PeterwasKollwitz’syoungerson.Inherearlydrawings,shequietlychosetoobserve himandhisbrother,Hans,sketchingthemsecretlyindifferentscenes(seefigure4).While simple,eachstrokeisdelicate,gentle,anddoneingreatdetail,reflectinghercareforher children.
Figure 4. Kollwitz, Käthe. Peter in his bed, 1908. Pencil on drawing paper. Cologne Collection of the Käthe KollwitzMuseumKöln
However,hertenderandaffectionatematernallovewasalsoaccompaniedbythedread andfearfromKollwitz’schildhood.Similartotheimpendingdoomshefeltafterheryounger brotherdied,shewouldalsoconsistentlyfeela“premonition”ofPeter’sdeath,startingin1903 whenshecreatedtheetching Mother with Dead Son, alsoknownas Woman with Dead Child (Frau mit totem Kind).48 EvenbeforePeter’sdeath,Kollwitzexperimentedwiththepresentation
47 Kearns, Käthe Kollwitz,139
48 ReginaSchulteandPamelaSelwyn,"KätheKollwitz'sSacrifice," History Workshop Journal,no 41(1996):201, JSTOR
Note:Kollwitzherselfneverexplicitlywrotedownorstatedthissuperstition,butitwaslaterconfirmedbyherson Hanstobefactual
ofmotherhoodandwomenascaretakers,butwhatshediddifferentlythatactivelyaffirmedher personaltiesintoworkswasthroughheractivesubstitutionofherselfandPeterintothese immediateroles.DespitePeterbeingaliveandwellatthetimeof Mother with Dead Son’s creation,sheplacedherselfandPeterintotheworkas“models.”49
ItisinthesepieceswhereviewerscanseeKollwitz’sstrongtiestoherreligionandher spirituality,asthestructureandideamimicsthatofthePietà,orthesymbolofMarycradlingthe deadbodyofJesus(seefigures5and6).Byactivelyhavingherselfandherownsonbecomethe subjectsofaworkthatcouldreflectuniversality,Kollwitzdemonstratedthatshewasableto intertwineherpersonallifetothebroaderthemeofreligion.
Figure6.Michelangelo. Pietà,1498-1499.Marblesculpture,174x195cm.St.Peter’sBasilica.
PerhapsKollwitz’smaternalinstinctwasrightafterall,asPeterwouldlaterbecomeone ofmillionsofcasualtiesduringWorldWarI.AfterhearingaboutPeter’sdeath,Kollwitzwas filledwithguilt,withanger,andperhapsevenself-hatred.SheblamedherselfforPeter’spassing,
49 Schulte,201
shewastheonewhograntedhimpermissiontogotowar,togotothebattlefieldtohisdeath.50
“Isthere anything at all thatjustifiesthis,”sheaskedherselfrhetoricallyinherdiary,asshe dissentedintogrief,consumedbytheideathatshewastheonewhocausedherson’sdeath.51 An artistwhowasalreadystrugglingwiththecreationofherworks,Peter’sdeathledtomore stagnationandlongerperiodsofprocrastination.
1920ThroughKollwitz’sDiary
Theyear1920wasKollwitz’sturningpoint.Akeyyearofrevelationsandtribulations, exploringthisyearisessentialtouncoveringKollwitz’smotivationsforselectingthewoodcut. Eachmonththatshedocumentedprovidesadeeperviewintoherthoughtprocess,andwhile sporadic,theformationofideasinthisyearsetthebasisforKollwitz’sinspirationandrevealed hermotivationsbehindcreatingherwoodcuts.
Kollwitzaffirmsinherdiarythatshewasnotaperfectartistintermsofmaintaininga steadyscheduleandcompletingpieces.Shestruggledwithprocrastination,desperatelyseeking differentwaystomotivateherselftobeginandfinishtheprojectsthatshehadtakenonand openly,forexample,writinginAugustof1916thatshefelt“stagnationin[her]work.”52 This feelingwaspresentatthebeginningof1920,asshebeganherentryforthisyearbydescribing howsheis“noticeablygrowingold,”especiallywithregardtoherartwork.53
Whenshefeltcompletelylost,Kollwitzoccasionallytookonprojectsbycommission.At theendofJanuary1920,shetookonalarge-scaleposterforaidprogramsinVienna,andeven thoughitwasaninformationalproject,shefeltthatherobjectivewas“toshowDeath.”54
AlthoughKollwitzwasnotrequiredtoincludeimagesrelatedtodeath,shefeltamoral
50 MaggieHire,"Plates:War,"in Käthe Kollwitz: A Retrospective (NewYorkModernMuseumofArt,2024),180
51 Hire,179
52 Kollwitz, The Diary,72
53 Kollwitz,96.
54 Kollwitz,96
obligationtorealisticallydepictthegriefanddesperationofthecommonpeople,whichcaused herimmenseanguish,butshefeltheractivismeffortswereinvain,asshebelievedthatchaos wouldcontinuetodecimatecities.55 However,thisdepictionofdeathcouldhavebothinduced andalleviatedheranxiety,asshesubsequentlywrotethattheonlytimeshefeltasenseofcalm wasatPeter’smemorial.Perhapsthroughthisinternalcommemorationandoutwardexpression ofherfeelingstowardsdeath,Kollwitzfoundpeacefulness,takingawayfromthegriefthat pervadedherlife.Atthispointinhercareer,Kollwitzconstantlyevokedherownexperiences, findingbalancebetweenherpersonalandworklife,choosingnottoseparatethem, demonstratingastronginterestinfindingawaytoportraytheideaofdeaththathadfollowedher throughoutherlife.
InJune,Kollwitzfinallyfoundtheformthatshehadlongsearchedfortobringher grievancestolife.ShewenttoseeErnstBarlach’sworkswithafriend,whichimmediately reignitedhersparkforartisticcreation.Barlach’sworkoftenfeaturedmen,seeminglyworn-out withlife,staringwithablankandjadedexpressiontowardstheaudience(seefigure7).Working mainlyinwoodcuts,hisartisticstyleconsistedofacombinationofthinfinelinesandlarger strokes,andunlikeDieBrücke’sfigureswhowereoftenmorphedtoapointofdistortion, Barlachhadmorenaturalisticdetailstohiswoodcuts,relyingonthecontrastinengravingsizes tocreatemorerealisticsubjects.
55 Kollwitz,96
Figure7 Barlach,Ernst The First Day,1920 Woodcut,257×359cm TheNationalGalleryofArt Kollwitzfeltsoutterlytouchedbyhiswoodcutsthatshedecidedtocompletelyshiftthe focusofhergraphicartsprojects,pivotingtothewoodcut.Whenmakingapiece,Kollwitz definedtwoprerequisites:“firstofallthestrongfeeling––thesecomefromtheheart––and secondlytheyrestonthebasisof[her]previousworks,”orwhatissimplythetechnicalaspect.56 Kollwitzshowedadeepdedicationtoherartand,insettingtheseguidelinesforherself,wanted tofindthebestmethodtocontinuecreating.SheadmiredthetellingfeaturesofBarlach’s woodcutsandhowheseeminglyhadtheabilitytoexpress,anaspectshestruggledwith.Shehad triedmanyformsforthisseriesbefore,includingetchingandlithography,buttheydidnot conveyhertrueintentions.“ExpressionisallthatIwant,”shewrote,areflectionofherdesireto releaseherpent-upfrustrationtowardsherinabilitytoencapsulateherstrongfeelingsinher War
56 Kollwitz,97
series.57 Inthisentry,Kollwitzshedslightonherwishesandamainreasonforselectingthe woodcutandnototherformsforthe War series:personalsatisfaction.Whileshestillfeltthe needtobeanadvocateforthepeople,asseenthroughtheposterprojectthatshestartedby request,shemainlysoughttocapturedeathandherownemotions.Andsheknewwhatshehad todo:beginherwoodcuts.
War (Krieg) Series
The War SerieswasKollwitz’sfirstandonlywoodcutsseries.Thecreationitselfdidnot takelong,buttheideacamefrommanyyearsofworkofrevisingandchoosingtherightform. Ihavetriedagainandagaintorepresentwar.Iwasneverabletocaptureit.Now,finally, IhavefinishedaseriesofwoodcutsthatcomeclosetoexpressingwhatIhavealways wantedtoexpress.[…]Theseprintsshouldbesentallovertheworldandgiveeverybody theessenceofwhatitwaslike—thisiswhatweallwentthroughduringthese unspeakablyhardtimes.58
WritingthislinetofriendRomainRollandinOctoberof1922,Kollwitzdescribedthat withthewoodcut,shefeltconfidentenoughtosharepiecesthatshehadbeenworkingonwith theworld.59 Despiteoneofhermotivesbeingtoupliftotherswhoexperiencedthesame universalharshconditionsoftheFirstWorldWar,herletteralsorevealstheideathatshefelt liberatedafterdiscoveringtheform.Thosefeelingsshehadbottledupandhadbeentryingto portrayforsolongwerefinallycaptured,whichwasultimatelythereasonwhyshebelievedher artcouldfinallybepresentedanddisplayed,asshefoundanoutletforherexpression;the woodcutbecameawaytoconveyheremotions.
57 Kollwitz,98
58 "TheWarSeries,1918-1922/1923,"KätheKollwitzMuseumKöln,accessedMarch15,2025, https://www.kollwitz.de/en/series-war-overview.
59 “TheWarSeries”
Analyzingwoodcutsthatareapartofthe War series, The Sacrifice hasthemost connectiontoKollwitz’sroleasamother.Itpresentsstrongtiestotheetchingthatspawnedher superstitionforPeter’sdeath, Woman with Dead Child,andjustlikeinthatpiece,in The Sacrifice,KollwitzpresentsanotherrenditionofthePietà,butinthiscasewithharshcontrastsin lightanddarknesstoreflectthehauntingsceneofamotherlosingherinfantchild.Thewoman's nakedfigureexposeshervulnerabilityandtherawemotionalstatesheexistsin.Whilemanyof hersubjectswerecroppedtofillasmallportionofapage,figuresinKollwitz’swoodcutsoften loomedovertheentiretyofthatsectionjustlikethesubjectsinDieBrücke’sworks,andthe grayscalecoloringoftheseworksemphasizedtheirimposingnature.Althoughnotseeninevery woodcut,Kollwitzwasabletoelevatetheprintformwithhercarvingoffacialexpressions, whichwerehighlydetailedandintricate,andin The Sacrifice,itshowsupinthedeep cheekbonesofthemother,asawaveofdespairwashesoverher(seefigure8).Despitegivingup herchild,thegripshehasonhernewbornbywrappingbotharmsaroundittightlyindicatesan unwillingness,similartoKollwitz’sownreluctancetoletPetergoofftofightinWorldWarI.
Kollwitzherselfevenmentionedthatafterhisdeath,itseemedasifshesubconsciously connectedJesuswithPeter 60 GermanHistorianReginaSchultebelievesthatbecauseofthis connectionKollwitzhaddrawnbetweenChristandPeter,thatnaturallyKollwitzwouldthen becomethePiéta,orMary.61 Therefore,itissupposedthatin The Sacrifice Kollwitzwantednot onlytoreferencethelivesofothermothersduringtheWar,butmoreimportantlyreferenceher own.
60 SchulteandSelwyn,"KätheKollwitz's,"199.
61 Schulte,199
Figure 8 Kollwitz,Käthe The Sacrifice from War (Krieg),1922 Woodcut,476x653cm TheMuseumofModern Art
Furthermore,intheentire War series,Kollwitzchoosesblandbackgroundsforallseven pieces,oftenleavinglargeportionsblankbyeitherfillingtheminorcarvingthemout,as opposedtoherotherlithographyseries, The Weaver’s Revolt,whichincludeshighlyintricateand detailedsurroundingsthatplacehersubjectsintoaspecificsetting.62 Thisactisintentional,as perhapsthewarisseenasmoreuniversalinitsimpact,havingalargeeffectonmillionsof people,butthisactcouldalsobeseenasKollwitzplacingherselfwithinthecontextofthewar thattookalargetollonherpersonallife.Shewasabletorelatetothesewoodcuts,andshe lookedatitnotjustfromtheartist’sperspective,butinsteadalsogaveherselftheopportunityto haveherwoodcutsdepicteventsthatweremirroredinherownlife.
62 MaggieHire,"Plates:War,"in Käthe Kollwitz: A Retrospective (NewYorkModernMuseumofArt,2024),180
Theactofmirroringisseenspecificallyinherthirdsheetofthe War Series, The Parents. The Parents isessentialtohumanizingKollwitzand herstruggles,asitwasonethatwas consistentlyrevisedinstructureandcomposition.63 Whilethefinalversiondoesnotclearly showanyfacialfeaturesofthesegrievingparents,earlierlithographsdocumentherdesireto createanartworkwithhomagetoPeterwithherselfandherhusbandKarlasthemainsubjects (seefigure9).
9 Kollwitz, Käthe The Parents, The rejected second version, 1919 Crayonlithograph TheKätheKollwitz MuseumKöln
DespiteherlaterrejectionofaworkthatexplicitlyincludesherandherhusbandKarl’s faces,itcanbeusedtointerpretintent.Eventhoughtheversionnevermadeittoanyseries,it presentsKollwitz’slongingtocapturenotjustthefeelingsofotherparentswhosuffered,butalso ofherown.Withregardto The Parents,Kollwitzspecificallydocumentstheneedtoexpress “simplicityinfeeling…butthetotalityofgrief.”64
63 “TheWarSeries.”
64 Kearns, Käthe Kollwitz,170.
Itrelatestothereasonshechosethewoodcut,aswiththisform,herpurposewasnotto spreadamessageoradvocateforacertainideal,butrathertoconveyhersentiments.Theform providesasleek,monochromaticlookwhileallowingKollwitztocarefullycarvethedelicate positioningandcradlingoftwogrief-strickenparents(seefigure10).Astheparentsintertwine,it becomeshardtodistinguishwhichuppertorsobelongstowho,astheyuniteinthisshared feelingofsadness.Thecomposition,likeherquote,issimple.Eventhoughtherearenofacial expressionsshowninthepiece,shewasabletoaddherowntouches,distinguishedespeciallyby herportrayalofhersubjects’hands.
Figure10.Kollwitz,Käthe. The Parents (Die Eltern) from War (Krieg),1921-22.Woodcut,31.5x42.5cm.The MuseumofModernArt
InSeptemberof1909,sherecountsanexperienceafterbrowsingthroughaprint collectionfromAlbrechtDürer,writingthatsheis“nolongeroverwhelmedby[hishand drawings]”andthat“hisstrokeisdistasteful,andsoishisexcessivelysubjectivefeeling.”65 To Kollwitz’sstandards,Dürer’shandswereperhapstoosoftandfartoodelicate.Stylistically, 65 Kollwitz, The Diary,17.
Dürer’shandsaremuchthinneranddaintier,andcomparedtoKollwitz’shands,Dürer’shands containmorefleshandveinsandalsoseemtobemorelively,carefullycraftedtoreflecteach intricacyofthesubject’shands(seefigure11).Whiletheartislifelikeandtruetothekey featuresofthehands,perhapsitisinthecompositionthatKollwitzfeltdisdainfor,asDürer’s Praying Hands werecarefullypositionedforthepurposeoftheartist’ssketch,proppedforthe artistryalone.
Earlieroninherartisticcareer,Kollwitz,likeDürer,alsocreatedsketchesofdifferent setsofhands,focusingontheirrealisticdepictionsindifferentsetscenarios.ButasKollwitz progressedtocreatingwoodcuts,shenolongersketchedhands,choosinginsteadtoplacethemin naturalpositionsattheforefrontofherpieces.Whilenotexplicit,theysubtlytakethecenter stageofmany,ifnotmostofherwoodcuts.Kollwitz’shandsinherwoodcutshaveadistinct
bony,almostemaciatedlook,whichreflecttheharshconditionsoflivingandworkingatthe time.Yettheyarealsosotender,asthefatherin The Parents gentlycradlesthemother,hishands wrappingherinanembrace.Kollwitzstructuredherpiecesinthisbodylanguage,withhandsas hercommunicators.FromherquoteaboutDürer,itisinferredthatKollwitzpreferredsuch objectivismtotheportrayalofhersubjects,inamannerthatdoesnotcensortheirhardshipsor neglectthecontextinwhichtheyexist.
Withotherworksinthe War series,namelythesixthsheetoftheseries The Mothers, Kollwitzmakesdirectreferencetothefactthatsheischannelingtheeventsfromherlifeasthe foundationofthepiece.Inthiswork,thereisadistinctdistortionincertainbodypartsofthe figures.Whilethemothersareallhuddledtogether,compactinthecenteroftheprint,anarm reachesoverwhatseemstobetheentirecrowd,itsabnormallengthemphasizingthetightnessof thegroupandtheirsolidarity(seefigure12).Thefacialexpressionsofthesewomenarescared andanxious,yetalsodefensive,manyhavingdark,deepsunkeneyes.
Figure 12 KätheKollwitz The Mothers from War (Krieg) 1922 Woodcut,476x653cm TheMuseumofModern Art
Withtheinclusionofsuchadiverserangeofwomen,itiseasytoassumethatKollwitz’s purposeofcreationwastoadvocateforthesemothers.Whilethismayhavebeenanulterior objective,evenbefore The Mothers wasturnedintothewoodcut,Kollwitzwrote:
“Iamworkingon The Mothers....Idrewthemotherembracingherchildren.Itisa representationofmyself,withmyveryownchildren,myHansandmylittlePeter.AndIwas abletomakeitagoodpieceofwork.”66
Figure 13. Kollwitz, Käthe. The Mothers, The rejected second version, 1919. Crayon Lithograph. The Käthe KollwitzMuseumKöln
Justlikein The Parents,Kollwitz’soriginaldraftalwayscircledbackintoherownlife. Thistime,despitehavingotherfiguresloomoverthetrioofKollwitz,Hans,andPeter,she clearlyshowsthatsheistheprotagonistofherownpiece.Connectingthenameofthework to thetitle, The Mothers,itwasapiecewhereKollwitztriedtoexploretheconstructofherroleasa motherandacaregivertohertwosons,anditseemsasifshesucceededinthisexperimentation,
66 "TheMothers,sheet6oftheseriesWar,1921/1922,"KätheKollwitMuseumKöln,accessedMarch23,2025, https://wwwkollwitzde/en/sheet-6-the-mothers
67
asshelaterwritesthat The Mothers wasoneofheronlylithographicworksthat“satisfied”her.
OnlylaterwasTheMothersmadeintoawoodcut(seefigure13). EvenwithworksKollwitzwas pleasedwithasotherprintforms,shewillinglychosetoremakethem,signalingthisdesireto rebuilduponworksthatwerepersonaltoherandherownlifeinordertocaptureemotionsfrom differentangles.
Kollwitz’sCommunism:ThePoliticalStance
Kollwitzhaslongbeenregardedasasocialartist,orsomeonewhoutilizesartforthe greatergoodofthegeneralpublic,especiallybecauseofherearlieretchingseries The Weaver’s Revolt,whichdemonstratedthehardshipsofGermanfarmersanddepictstheirrebellionsagainst authorityinreal-life.AuthorAgnesSmedleyevenreferredtoKollwitzas“thePeople’sArtist.”
68 Thus,itiseasytotieherwoodcutsintothissamegenreofactivismart,especiallybecausesome ofhermostfamouswoodcutsandinfluencesrevolvearoundthesesocietalissuesandexplicitly referenceCommuniststances.Thefirstexamplewouldbethecreationofherworkopenly commemoratingcommunistleaderKarlLiebknecht(seefigure14).However,whileKollwitz wasundeniablysociallyaware,herwoodcutforhimandhissupportersdoesnotreflectthesame purposeasheretchingsorlithographs. In Memoriam Karl Liebknecht,whileusedtomemorialize thiscommunistleader’sdeath,wasnotaclearcallforpoliticalactivityoranappealtothe communistparty.Rather,itwasapiecethatKollwitzcreatedbecauseshewaspersonallytouched bytheaffectiontheseworkershadforsomeonetheyrevered.
67 Kollwitz, The Diary,98
68 EstelleBories,"TheInfluenceofKätheKollwitzonChineseCreation:BetweenExpressionismandRevolutionary Realism,"in Art beyond Borders Artistic Exchange in Communist Europe (1945-1989) Jérôme Bazin, Pascal Dubourg Glatigny, Piotr Piotrowski,byJérômeBazin,PascalDubourgGlatigny,andPiotrPiotrowski(Amsterdam: CentralEuropeanUniversityPress,2016),453.
Figure14 Kollwitz, Käthe In Memoriam Karl Liebknecht (Gedenkblatt für Karl Liebknecht),1920 Woodcut,349 x49.9cm.TheKätheKollwitzMuseumKöln.
InanentrydatedfromOctoberof1920,Kollwitzwrote,
AsanartistIhavetherighttoextracttheemotionalcontentoutofeverything,tolet thingsworkuponmeandthengivethemoutwardform.AndsoIalsohavetherightto portraytheworkingclass’sfarewelltoLiebknecht,andeventodedicateittotheworkers, withoutfollowingLiebknechtpolitically.Orisn’tthatso?69
Whiletheprintdoeshaveanoutwardprojectionofpolitics,especiallybecauseofhowit directlyreferencesLiebknecht,Kollwitzshowsthatsheonlydesiredtocommentonits emotionalimpact,andhowthisdeathcouldseeminglytakeatollonothers.Thesegmentinher diaryaffirmsthatsheneverexplicitlytookapoliticalstance,evenifitseemedasifherwoodcuts wereleaningtowardsthecommunistparty.Shewassimplyexpressingherempathy,the
69 Kollwitz, The Diary,98
compassionshehadforotherswhoalsoexperiencedloss.Thiscanbeseenthroughthefacial expressionsofthesesubjects,somewashedoverwithagravesolemnity,payingrespecttothe fallenleader,whileothersdroopwithuncontrollablesadness.Shefoundvalueintheemotionsof othersandfeltfortheirsuffering,butwasneveradvocatingforacertainideology.Furthermore, mostofKollwitz’sworksthatclearlytouchuponasocialissueincludewrittenelements.Take Brot!,alithographcreatedin1924,releasedjustthreeyearsafter In Memoriam Karl Liebknecht (seefigure15).Itdistinctlyincludesthelabel brot,whichmeansbread,asifthetwoyoung childrenarevocallybeggingtheirmotherfornourishment,showinghowdireconditionswere duringtheInterwarperiod.
Figure15.Kollwitz,Käthe. Brot!,1924.Lithograph,53.8x38cm.SaintLouisArtMuseum.
DuetoKollwitz’sowndescriptionofhermotivationincreating In Memoriam Karl Liebknecht aswellasthelackofmentiontowardsasocialissue,itcanbeconcludedthat Kollwitzwasnottryingtointerlacepoliticsintoherwoodcuts,consideringthemasmoreofa methodofformalexpression.
ThesecondexamplethathasbeenusedtoupholdtheideathatKollwitz’swoodcutswere outofapoliticalpurposewouldbeherdirectconnectiontothe“ChineseAvant-Garde,”asshe inspiredanewgenerationofartistsinChinatocreatewoodcutsthatpromulgatedsocialactivism, especiallywiththeChineseCommunistParty.70 Notonlydidshesettheprecedentbybecoming amodel,theseChineseartistsactivelyemulatedcertaincharacteristicsofKollwitz’sartwork.In HuYichuan’swoodcut To the Front!,stylisticsimilaritiesincludingthedistinguishedfacial features,thestretchingofthecentralfigure,andtheharshcontrastbetweenblackandwhiteall alludetoKollwitz’s War Series(seefigure16).Additionally,whileHu’sstrokesaremuch thicker,thedetailsinthefacialexpressionsdefiningtheprotagonist’scheekbonesalludesto Kollwitz’sworks.Thepurposeof To the Front! istobea“visualrallyingcry”totheChinese people,asHubegsforothermembersoftheChineseCommunistPartytostandwithhimin ordertotrytogetthemtolobbyfortheRepublicanNationaliststotakeactionstotrytoprevent theJapanesefromfurtherwreakinghavoconcities.71
70 Bories,"TheInfluence,"453
71 Dr KristenLoringBrennan,"HuYichuan,TotheFront!,"Smarthistory,lastmodifiedSeptember6,2022, accessedMarch20,2025,https://smarthistory.org/hu-yichuan-to-the-front/.
Forthisreason,itiseasytoassociateKollwitzandherwoodcutswithcommunist ideology,asitseemsasifshewasthearchetypeforthistypeofart,leadinghertoimpactagroup whoseartistsmainpurposewastoadvocateinfavorofcommunism. However,ithastobenoted thatneitherKollwitznortheauthorwhowidelydistributedherprintsthroughoutChinainthis timeperiod,LuXun,wereevermembersoftheCommunistparty 72 Whiletheirconnectionswith itareinevitable,therewasnocorrelationbetweenKollwitz’swoodcutsbeingspreadinChina duetotheideathattheywerebasedontheprincipleofpromotingCommunistvalues.Even thoughLuXunarguedforCommunism,ashebelievedthatitwasthroughthispoliticalchange thatwouldreformcertainissuesingovernment,itmustalsobenotedthathewasalsodeeply focusedonthepersonalaspectsofKollwitz’swoodcuts,andoftenrevisitedthemesthatdefined Kollwitz’sartinhiswriting.73 EvenwhenLuXunpassedawayin1936,influentialChinese
72 Bories,“TheInfluence,”456.
73 Bories,456
woodblocksatthetimeturnedtoKollwitz’swoodcutsthatLuXunsoheavilypromotedfor reference,notforitspoliticalviews,butfortheir“humanismandempathy.”74 Essentially, ChineseartistscontinuetoextractthemoralsthatKollwitz’swoodcutscarried,imbibingtheir artisticculturewithherideaofemotionalpresentation.ForKollwitz,thewoodcutseemedtobe hermethodofemotionaldocumentationandevenrelease,andshedidnotinterlaceherpolitical viewsintothem,makingthempurelyaboutherpersonalexpression.
Conclusion
KätheKollwitzwasanartistwhoemphasizedherpersonalfeelings,elevatingthe woodcutfromasimplereproductivetoolintoamethodofexpressionthatresonatedwiththe commonpeopleandallowedhertodemonstrateherpent-upemotions.Whileherearlierworks wererealistandreflectedsocietalproblemsthatpervadedtwentieth-centuryGermany,Kollwitz’s transitionfrometchingandlithographytowoodcutbeganthebasisforherExpressionistwork, assheexperimentedwithdistortionandinterlacedelementsdeartoherheart,includingher struggleswithmotherhoodandcopingwiththelossofherson,aswellastheenigmaofreligion whichultimatelyledhertoassociateherselfwiththePietà.Despiteherwoodcutshaving mentionofcommunistideologyandfigures,Kollwitzneverintendedforthemtobepolitical,but ratherareflectionofherempathy.Theextentofherinfluenceexpandedintodifferentcontinents, impactinganentiregenerationofChineseprintmakerstoemulatehervisualstyleasreference duetothestrikingimagerywithinherwoodcuts,wheretheywouldlatermanipulatetofitthemes likecallsforactivism.AsAmericanartcriticandhistorianElizabethMcCauslandoncesaid aboutKollwitz,“[her]technicalinterestsshouldbeemphasizedbecauseithasbeenthecustomto writeasifshewereanartistwholetemotiontaketheplaceofdiscipline.”75 McCausland’squote
74 Bories,458
75 ElizabethMcCausland,"KätheKollwitz," Parnassus 9,no.2(1937):23,https://doi.org/10.2307/771494.
holdstrue,asKollwitz’sdiaryandherwoodcutsreflectedherdifferentemotionalstates,helping herviewersunderstandthecomplicatedsentimentsthatshetriedtooutwardlyproject.
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