Das Schnittmuster Käthe von Konfetti Patterns ergibt einen raffinierten Pullover für Damen mit vielen Varianten für schöne Kragen-Pullover. Auch Anfänger können mit der ausführlichen Anleitung und dem einfachen Schnittmuster schnell wunderschöne Pullover für Frauen nähen. Gibts auch als Papierschnittmuster.
Autorretrato 1924 Käthe Kollwitz Schmidt , pintora, escultora, escritora, pacifista y notable artista gráfica alemana nació el...
Kathe Kollwitz: Käthe Kollwitz
Von Edelheit Stöffchen habe ich diesen wunderschönen Ornament Jersey zum vernähen bekommen. Boa, was für ein genialer Druck. Ich musste erst einmal mit der Hand über den Stoff streichen um sicher zugehen, dass das tatsächlich nicht 3D ist.
Käthe Wohlfahrt ist bekannt für Weihnachtsschmuck und Weihnachtsartikel. Auf dem Gebiet der traditionellen deutschen Weihnachtsdekorationen sind wir Markt…
German, 1867–1945.
The Museum is temporarily closed, but we will open again soon. At the end of May 1986, the Berlin painter and art dealer Hans Pels-Leusden (who died in April 1993) opened the privately directed Käte Kollwitz-Museum in a formerly upper-class home in Fasanenstraße, in the Charlottenburg-Willmersdorf district of Berlin. Four decades after the death of […]
Quite moving Käthe Kollwitz artwork. British Museum
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Dorothea at the studio in 2004 Aw, I really liked her ♥
Käthe Kollwitz (1867–1945) “Zertretene” (The Downtrodden), 1900 Etching and aquatint printed with dark brown ink on thick wove pa...
Jägerkaserne, ehem. Kaserne des 2. Jägerbataillons Nr. 13
Käthe-Kollwitz-Museum Berlin – Home
“I have no trouble with the idea of my art serving a purpose. I want to have an impact at a time when people are so baffled, so in need of help.” – Käthe Kollwitz diary entry, December 1922 Käthe Kollwitz (8 July 1867 – 22 April 1945) made over 100 self-portraits of her … Continue reading "Käthe Kollwitz Self Portraits"
Käthe Kollwitz-Schmidt 1867-1945 Duitsland
photograph by Hugo Erfurth
Nelly & Lotta (courtesy of the Käthe Kruse company)
Käthe Kollwitz (1867–1945) “Zertretene” (The Downtrodden), 1900 Etching and aquatint printed with dark brown ink on thick wove paper. (Note that this print has been cleaned by a conservator and the von Becke blindstamp has been flattened and only the trace of it can be seen verso at the bottom right.) Size: (sheet) 80 x 43 cm; (plate) 62.8 x 23.8 cm Klipstein 48 (August Klipstein, 'Verzeichnis des graphischen Werkes', Bern 1955) Condition: richly inked and well printed impression with full margins as published posthumously by von Becke in the 1960s (?). There appears to be rubbed areas in the aquatint and there is a printer’s crease, otherwise the print is in pristine condition after having been cleaned by a conservator. I am selling this very large Kollwitz etching for AU$550 in total (currently US$419.62/EUR374.16/GBP329.62 at the time of posting this listing) including postage and handling to anywhere in the world. If you are interested in purchasing this visually arresting and important etching by one the truly great German printmakers, please contact me ([email protected]) and I will send you a PayPal invoice to make the payment easy. This print has been sold This very large etching (with aquatint) by Kollwitz is quite unlike many of her other prints. What I mean by this is that the bulk of Kollwitz’s prints focus on real life dramas whereas this print is like an icon that is richly laden with symbolism waiting to be deciphered and understood. The laid out figure is clearly Christ’s body, as symbolised by the lance wound to his chest that the standing figure with the sword, symbolising Justice, is indicating—or perhaps exploring like doubting Thomas. From what I understand after reading about this print is that the two nude women on the right—one bound by a rope to a column—are thought to symbolise Need and Shame. Sadly, Kollwitz has not documented the symbolic meanings underpinning the women so critics are only speculating about what they signify. From a personal standpoint, Kollwitz’s image of Christ pays homage to Holbein's famous painting, “The Body of the Dead Christ in the Tomb”, and I can easily understand why Holbein’s dead Christ would have resonated strongly with an artist like Kollwitz: Holbein’s image speaks graphically of grim sorrow. The long horizontal format and the colour of the ink—a dark umber—also make me think of the long bronze friezes on cenotaphs commemorating the tragedy of war, especially the coming two world wars that Kollwitz may have sensed were yet to come.
Portrait of the artist Kathe Kollwitz
