Word: kollwitz
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Dates: during 1934-1934
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...Just as forceful in its attack but far more humorous is the drawing by George Grosz called "Berlin Cafe" The bourgeoisie of the German capital is satirized with vitriolic fire. Portrayals of the sufferings of the lower classes appear in the prints and drawings of Nuckel, Burkart, and Kaethe Kollwitz. The handling is so subtle, the technique so skillful, that these pictures are far more than mere proletarian propaganda...
HERR Hitler kicked Kaethe Kollwitz out of Germany, and very sensible he was to do so. Men who know the true fruits of war he cannot train to be warriors. Men who understand the inevitable evils of capitalism he cannot persuade to support his program for the rehabilitation of German capitalists. Kollwitz' art is nothing if not truthful about these horrors. Quick flesh but thinly veils the bony deathsheads of her starving men and women. Death, indeed, dominates the work of Kollwitz now being exhibited at the Germanic Museum. Not Death as in the silent senseless repose of the dead...
Occasionally Kaethe Kollwitz' technique of exaggerating significant details to grotesqueness for emphasis makes the work difficulty intelligible. At her best, as in the lithograph "Brot" she achieves striking beauty with remarkable simplicity and economy of line. Most powerful of the exhibits are the series of fascinating self-portraits, versions of "The Widow II," the conventional "Dance Around the Guillotine," and the symbolic "Hunger's Whip." Dr. Kuhn is to be congratulated for bringing such an exhibit to the Germanic Museum...