Word: kollwitz
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Dates: during 1930-1939
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...mediocre charcoals and lithographs, together with an unusually fine etching compose the exhibit of Kathe Kollwitz's work now being shown in the Leverett House Common Room. The quality of the pieces in the collection is of secondary importance, however. What is far more pertinent is the fact that for the second time this year certain members of Leverett House have had enough practical initiative and aesthetic sensibility to remove the capital "A" from the word "art." An average painting hanging on the wall of a House Common Room is of much more value than a most highly prized Rembrandt...
...20th Century German Art held at the New Burlington Galleries. Most of the recollections were melancholy. For at the gallery was plain evidence that modern German art has traced a more tragic course than that of any other European country. Still living in Berlin slums. Käthe Kollwitz reached her 71st birthday as the show opened, remained the best German woman artist. Also shown was the work of mild, good-natured Max Liebermann, who died three years ago after his work was banned, not because it was abstract, but because he was Jewish. Franz Marc, represented by his famed...
...most powerful living woman artists, she had been honored with a big retrospective exhibition. Five years before, she had been director of the Graphic Arts department of the Berlin Academy. But the canons of Nazi art were such that, though she continued to work, Kathe Kollwitz had no more exhibitions in Germany after...
Last week a rumor of Kathe Kollwitz' arrest in Berlin coincided with the opening of three simultaneous exhibitions of her work in Manhattan. Whether or not the rumor was a bit of gratuitous promotion, visitors to the three shows needed no prodding to deplore Nazi treatment of the artist. No abstractionist. Kathe Kollwitz is a weighty, marvelously skilled draftsman in the great 19th-Century line. It is her subject matter, always proletarian, bitterly naturalistic and sorrowful, that rules her out of the "Strength through Joy" school...
...Hudson D. Walker Gallery were about 50 prints, beginning with a set of illustrations for Hauptmann's Weavers which first brought Kathe Kollwitz fame, in 1897, as a proletarian artist. At the Arista Gallery were etchings and lithographs from this and later periods. At the Buchholz Gallery were recent drawings by the artist, including Mother & Two Children (see cut), and four pieces of sculpture done since 1932, when Artist Kollwitz produced her first strong work in stone for a Belgian cemetery, where her youngest son was buried after his death in the German offensive...