Whilst collating a plethora of new artists to write about I simply must include Käthe Kollwitz – Germany’s Leonardo Da Vinci.

The expressions of emotion are rapturous.

Aptly scroll downwards to take in her bodily forms, skilful compositions and empathic range.  Käthe Kollwitz (8 July 1867 – 22 April 1945) often incorporates mutual perspective with the subjects of her work.  A myriad configurations given the ‘I defy you to ignore this message’ treatment.

Powerful social, spiritual and political commentaries abound throughout her work.

What would you think immediately about Kollwitz upon viewing the two works of art ‘Death and Woman’ [1910] above and ‘Anguish: The Widow’ [1916], below.

Whilst this is not a self-portrait Kollwitz is certainly emotionally raw from the loss of her son Peter in October 1914 during World War I.  That she chose to depict the widow with empty hands is eerily touching.

Two revealing quotes by Kollwitz allude to an ambition and sensitivity often found in great artists:

‘How long were the stretches of toilsome tacking back and forth, of being blocked, of being thrown back again and again. But all that was annulled by the periods when I had my technique in hand and succeeded in doing what I wanted.’

‘While I drew, and wept along with the terrified children I was drawing, I really felt the burden I am bearing. I felt that I have no right to withdraw from the responsibility of being an advocate. It is my duty to voice the suffering of men, the never-ending sufferings heaped mountain-high.’

The first quotation includes technical art language.  Stretching the art canvas across wooden beams describes the labour of work before the work of painting has actually begun.  Also, the ‘blocked’ method of using masking materials such as tape to paint a specified area in contrast to another.  Kollwitz even seems to explain a measure of rejection for her work prior to success.

Kollwitz exclaims her social responsibilities through her art.  Tearful heart-wrenching involvement in bringing forth the cold reality of deplorable living conditions that she witnessed.  Interestingly this particular commentary makes mention of children and men.

True to Kollwitz’ dramatically tragic style I decided to add a different kind of beauty in ‘Woman With Orange’, 1901:

One of my favourite works by the artist due to the rarity in finding aesthetic beauty in her work.  Couple this with the classic orange subject material held by the young woman and exceptional compositional value elevating its importance.

Of course the gravitas of her work remains solemn and forceful.

Kollwitz has such a tremendous body of work – Monet-like for its vast quality.  Furthermore, there is a wealth of styles, techniques and methods to be found throughout her life in art.  Sculptures, woodcuts, lithography, sketches, posters, charcoals, paints et al.

By the 1890’s Kollwitz most often switches to etching rather than the use of oils.  Her etches frequently stylistic in representation to accommodate the growing popularity of the printing press and its mass artistic appeal.  The melancholic, serious nature of her work best serviced through monochromatic depictions along with the ability to positively influence the public psyche.

Clearly Kollwitz becomes Germany’s Da Vinci by the depth of her exemplary artistic Expressionism.