Art Appreciation

Harald Haacke, “Mother with her Dead Son – Reinterpretation”, 2005. WWI Holocaust War Memorial Installation, Bronze, Berlin, Neue Wache, Germany, interior view.  Reinterpretation of smaller-scale original sculpture by Kathe Kollwitz

 Oculus exposes sculpture to the elements – symbolizes life & death; social

injustice of the Holocaust  Large open room: place for reflection, silence, reminds viewers of gas

chamber room (Slatkin, Women Artists; Kollwitz Museum)  Purpose/Function: Commemorative Memorial to Holocaust Victims;

Educational; Historical; Aesthetic

http://www.saskia.com/

http://www.youtube.com/watch?v=d3lXZyuSYPQ

 Expressive Use of Media, Technique, Subject Matter & Themes (Sayre, 513/14)

 Subjectivism: Artist’s interpretation of Events & People (Random House Dictionary…, 178)

 Reaction Against Superficiality (Frank, 357-8)

 Rebellious & Emotional (Lucie-Smith, 142)

 “…Desire to Startle Viewer” (Kollwitz, MOMA)

 Kathe Preferred Printmaking

• Less expensive to make & purchase

• Propaganda/ Quick dissemination of message

• Iconography: Black vs White (good vs. bad) (Slatkin, Voices, 181)

lithographic print, 50.7 x 36.8 cm, 1934, MOMA. http://www.moma.org/collection/object.php?object_id=117570

 Subject Matter: Representational Portrait (Sayre, 26-30 ).  Theme Categories: Power, Spiritual Belief, Life Cycle  Specific Theme: Death/Dying Unexpectedly/War Victims (Smart Museum)  Icons: Skeletal Figure = Death (“Grim Reaper”; Female = Mother of Child; Deceased Child

(iconography: life/death; good/evil; young/old); Madonna & Child Allegory/Pieta Imagery (Bertrand)  Line: Actual & Implied (image inset)  Color: Black/White (achromatic – suits theme)  Space: Overlapping, Negative/Positive  Contrast: Negative/Positive Space; Old/Young; Large/Small; Life/Death; Good/Evil  Asymmetrically Balance: Replicates Natural Movement  Focal Point: Female Figure’s Fearful Face (shocked death is taking child)  Expressionist Characteristics: White/Black Contrast; Achromatic Color Suits Theme; Physical

Expressions & Gestures; Scale Contrasts of Figures; Curvilinear Expressive Lines; Compassion; Artist’s Experiences; Communicative (Piper, 178)

 Purpose: Communicates Information (Spartacus…), Cycles of Life & Death, Good versus Evil (Effects of War)

 Role of Artist: (Sayre, 4-11; Spartacus...Artcyclopedia,; Slatkin, Voices, 81-192)  Help viewer see world in new way (social & educational)  Record events of her time period (historical)  Give form to immaterial (hatred, sexism, social injustice, death…)  Reveal ills of Society & Personal Experience of artist

 Value: Intrinsic & Extrinsic – educational, personal, economic, historical, religious, political (Sayre, 42-57 ; Slatkin, Women…, 181-192; Frank, Artforms, 1-18)

German Expressionists & Their Work: http://www.moma.org/explore/collection/ge/artists

“German Expressionism: Works from the Collection” in MOMA: Museum of Modern Art, New York City, New York. Online Art Exhibit

http://www.kollwitz.de/default.aspx

Left: Self Portrait, ca. 1920, print; Right : Mother & Child, ca. 1900, print “Kathe Kollwitz” in Antiques Roadshow. Appraisal Show, July 12, 2008, Wichita Kansas, Wichita Hour2 - #1308.

Original Airing: Feb. 23, 2009. PBS Online, WGBH, Boston, 1997-2014. http://www.pbs.org/wgbh/roadshow/archive/200803A06.html

https://www.moma.org/interactives/projects/2001/whatisaprint/flash.html

Miceli-Hoffman, Gina. “Kathe Kollwitz Compare/Contrast Slide “in Kathe Kollwitz: German Expressionist. Houston, TX: Gina Miceli-Hoffman, 2016.

Poster By: Prof. Gina Miceli-Hoffman

http://www.kaethe-kollwitz.de/museum-en.htm

https://www.moma.org/interactives/projects/2001/whatisaprint/flash.html

Bertrand, Sandra L. “Kathe Kollwitz, Woman with Dead Child” in Literature, Arts, and Medicine Database, NYUMC.org: 1/19/04. http://litmed.med.nyu.edu/Annotation?action=view&annid=10388 Frank, Patrick. Preble's’ Artforms. 10th ed. Upper Saddle River, New Jersey: Prentice Hall, 2011. “German Expressionism: Works from the Collection” in MOMA: Museum of Modern Art, New York City, New York. Online Art Exhibit. http://www.moma.org/explore/collection/ge/artists “Kathe Kollwitz” in Antiques Roadshow. (Self-Portrait & Mother & Child). Appraisal Show, July 12, 2008, Wichita Kansas, Wichita Hour2 - #1308. Original Airing: Feb. 23, 2009. PBS Online, WGBH, Boston, 1997-2014. http://www.pbs.org/wgbh/roadshow/archive/200803A06.html “Kathe Kollwitz”” in Artcyclopedia. John Malyon/Specifica, Inc. , 2011. http://www.artcyclopedia.com/artists/kollwitz_kathe.html. “Kathe Kollwitz” in MOMA . Online Collection. New York: MOMA, 2014. http://www.moma.org/collection/object.php?object_id=117570 “Kathe Kollwitz” in Saskia (Visual Image Depository). Saskia, Ltd.,2001-2005. http://www.saskia.com/ “Kathe Kollwitz” in Spartacus Educational. Spartiacus Educational Publishers. http://www.spartacus.schoolnet.co.uk/ARTkollwitz.htm. Online Encyclopedia. “Kathe Kollwitz” in Visit.Berlin .TV. Video Documentary of Kathe Kollwitz Museum, Berlin. http://www.youtube.com/watch?v=d3lXZyuSYPQ “Kathe Kollwitz: A Social Activist in the Era of WWI.” Dallas Museum of Art. Exhibit, May 3rd, 2014 – November 16, 2014 (Level II). http://www.dma.org/art/exhibitions/k-kollwitz-social-activist-era-world-war-I Kathe Kollwitz Museum-Berlin. http://www.kaethe-kollwitz.de/museum-en.htm. Museum Online Website. VG Bild-Kunst, Bonn, 2005. “Map of Germany” in World Travels, Globe Media, Ltd, 2014. http://www.wordtravels.com/Travelguide/Countries/Germany/Map “Oskar Kokoschka, German Expressionism: Works from the Collection” in MOMA: Museum of Modern Art, New York City, New York. Online Art Exhibit. http://www.moma.org/explore/collection/ge/artists Piper, Sir David, ed. “Expressionism” in The Random House Dictionary of Art and Artists. New York: Random House, 1990. 178. Sayre, Henry M. “Chapter 21: From 1900 to the Present” in A World of Art. 7th ed. Upper Saddle River, New Jersey: Pearson, 2013. 184-185, 513-514. Slatkin, Wendy. “Chapter 18: Germany - Kathe Kollwitz” in The Voices of Women Artists. Upper Saddle River, New Jersey: Prentice Hall. 181-192. _____. “German Expressionists: 1900-1910” in Women Artists in History: From Antiquity to the Present. 4th Edition. 181-183.

PPT Presentation

• Next is my PPT Presentation if you would like to view it!

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By

Prof. Gina Miceli-Hoffman © 2014

Figure #1 Figure #2

Figure #4

Figure #3

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Brief Timeline

Characteristics of Style

Sample Art Work & Formal Analysis

Similar Artists/Themes/Style

Compare/Contrast

Recent Appraisal & Exhibits

Conclusion

List of Figures

Bibliography

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• Birth/Death Dates: – 1867-1945 (b. “Schmidt” in Kaliningrad, Russia / d. Moritzberg, Germany)

• Personal Background:

– Father: Dr. Schmidt - Social Scientist, Socialist, Activist, Artist – 1891 Married Karl Kollwitz (Socialist Doctor & Berlin Practice – Working Class Clientele) – Son Peter Killed in WWI (1914) & Grandson Peter Killed in WWII (1942)

• Education & Professional Background (Academic Artist):

– 1885/86: Women’s Art School in Berlin – 1889/90 :Verein’s School in Munich – 1901-1913: Berlin Secession & “Free” Secession Art Movements – 1908: Villa Romana Prize – Studied in Florence, Italy – 1914: President of Frauenkunstverband (Women’s Art Union) – 1919 : 1st Woman Admitted to Prussian Academy of Fine Arts – 1926: Founded GEDOK (Society for Women Artists and Friends of Art)

– 1928: Director of Graphic Arts – Prussian Academy of Fine Arts

– 1933: Forced to Resign Director Position & Art classified as “Degenerate” by Nazi Leaders – 1935: Official Ban of Her Work – 1940’s: Final Works

• Major Work: (Style – German Expressionism)

– “The Revolt of the Weavers”, 1893-98; / 1st graphic print series (Figure #8) • Gold Medal Nomination thwarted by German Gov. due to Socialist affinity

– “The Peasant War”, 1902-1908 print cycle (Figure #9) – “The Survivors- War Against War!” Poster Print, Sept, 1924 /Patron: International Trade Union

Organization for Anti-War Day (Figure #10) – “Germany’s Children Art Starving”, print, 1923 (For IAH: Stand against suffering caused by

inflation) (Figure #6) – “Never Again War”, 1924 print, Central German Youth Conference of the …Workers Movement

(Figure #7) – “Death” Print Series, 1934 (Figure 11) – “Rest in the Peace of His Hands”, bronze sculpture, 1935-36 - for family tomb site (Figure #2)

• Writings & Journals translated and published in 1955

– Life as a mother, artist, teacher, socialist – Choice of themes (oppression, death, struggle, mother/child, war; media & techniques) – Art Exhibits & Employment – Struggle with social & personal issues – Oppression of Nazi bureaucracy towards her work

Figure #5

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http://www.youtube.com/watch?v=d3lXZyuSYPQ

• Stylistic Movement – Germany (1900’s -1930’s)

• Expressive use of media, technique, subject matter & themes (Sayre, 513/14)

• Subjectivism: Artist’s interpretation of events & people (Random House Dictionary…, 178)

• Reaction against Superficiality (Frank, 357-8)

• Rebellious & Emotional (Lucie- Smith, 142)

• “…Desire to startle viewer” (Kollwitz, MOMA)

• Kollwitz preferred Printmaking – Less expensive to make & purchase

– Propaganda/ Quick dissemination of message

– Iconography: Black vs White (good vs. bad) (Slatkin, Voices, 181)

“all these prints are the distillation of my life…I have always worked with my blood… those who see the things must feel that.” Kathe Kollwitz’ Letter to son, Hans, April 16, 1917. (Slatkin, Voices, 187)

Figure #6

Figure #7

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• Theme: Social Injustice

• Representational

• Expressive Characteristics – Theme

– Color Choice (B/W)

– Gestures & Body Movement

– Expressive Lines

– Implied Motion

– Iconography (poor workers marching, prisoners tied up…social injustice)

Figure #8

Figure #9

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Figure #10

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• Subject Matter: Representational Portrait (Sayre, 26-30

).

• Theme Categories: Power, Spiritual Belief, Life Cycle,

• Specific Theme: Death/Dying Unexpectedly/War Victims (Smart Museum)

• Icons: Skeletal Figure = Death (“Grim Reaper”; Female = Mother of Child; Deceased Child (iconography: life/death; good/evil; young/old)

Madonna & Child Allegory/Pieta Imagery (Bertrand) • Line: Actual & Implied (image inset) • Color: Black/White (achromatic – suits theme) • Space: Overlapping, Negative/Positive • Contrast: Negative/Positive Space; Old/Young;

Large/Small; Life/Death; Good/Evil • Asymmetrically Balance: Replicates Natural

Movement • Focal Point: Female Figure’s Fearful Face (shocked death

taking child)

• Expressionist Characteristics: White/Black Contrast; Achromatic Color Suits Theme; Physical Expressions & Gestures; Scale Contrasts of Figures; Curvilinear Expressive Lines; Compassion; Artist’s Experiences; Communicative (Piper, 178)

• Purpose: Communicates Information (Spartacus…) – Cycles of Life & Death – Good versus Evil (Effects of War)

• Role of Artist: (Sayre, 4-11; Spartacus...Artcyclopedia; Slatkin, Voices, 181-192) – Help viewer see world in new way (social &

educational) – Record events of her time period (historical) – Give form to immaterial (hatred, sexism,

social injustice, death…) – Reveal Ills of Society & Personal Experience of

artist • Value: Intrinsic & Extrinsic – educational, personal,

economic, historical, religious, political (Sayre, 42-57 ; Slatkin, Women…, 181-192; Frank, Artforms, 1-18)

Figure #11

Figure #12

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Fig. 13a. Max Beckman (1884-1950)

“Hunger”, 1919 Print

Fig. 13b. Christian Rohlfs

(1849-1938) “Prisoner”, 1918

Print

Fig. 13c. Oskar Kokoschka

(1886-1980) “Pieta: Poster for Murderer, Hope

For Women, 1909 Print

Click Here (Artists & Their Work): http://www.moma.org/explore/collection/ge/artists “German Expressionism: Works from the Collection” in MOMA: Museum of Modern Art, New York City, New York. Online Art Exhibit

Figure #13

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Michelangelo’s Pieta, 1498/99

• Representational Portrait:

– Madonna & Deceased Son (Jesus)

• Formal Qualities:

– Large-Scale Marble Carving

– Unity: 1 theme, monochromatic, child laying across mom’s lap

– Expressive theme, lines, gestures; organic & geometric shapes; open form, focal area-torso of deceased Christ (center of composition); actual & simulated texture; time (linear & grieving period);triangular format; proportional yet certain scale components exaggerated for effect (size & length of son’s body & mom’s legs); asymmetrical but visually weighted

• Iconography: Religious Pieta

– (Pity/Sorrow/Grief)

• Patron:

– French Cardinal Jean de Beheres for his funerary monument

– 18th century moved to Vatican, Rome, for public viewing

• Humanistic & Elitist Version of Theme

• Artist’s Role: Give form to the immaterial – religious beliefs of Cardinal (Christianity)

Kollwitz’ German Expressionist “Pieta” (1937-39)

• Representational Portrait:

– Mother & Deceased Son (Kollwitz & Son)

• Formal Qualities:

– Small-Scale Bronze Casting

– Unity: 1 theme, monochromatic, child cradled in mom’s body

– Expressive theme, lines, gestures; organic & geometric shapes; closed-form, focal area – mother’s hand holding garment (upper segment of composition); actual & simulated texture; time (linear & grieving period); circular format; exaggeration of proportions for effect (small head of mom, large arms, wide legs, contorted son’s body); symmetrical

• Iconography: Secularized “Pieta”

– (Pity/Sorrow/Grief)

• Patron:

– Kollwitz

– Originally for Private Viewing

– Commemorative Personal Memorial

• Expressionist & Humble Version of Theme

• Artist’s Role: Give form to the immaterial: reveal sorrow & love for a child, record event (grieving over death of son), personal expression : “reflection” (Kollwitz Museum)

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Figure #16

Kollwitz, “Pieta”, 1937-39, German Expressionist

• Representational Portrait:

– Mother & Deceased Son (Kollwitz & Son)

• Small-Scale Bronze Cast Sculpture

• Unity: 1 theme & monochromatic

• Expressive theme, gestures, lines; organic & geometric shapes, symmetrically weighted; closed form; scale variation (adult vs child); implied time (death/mourning period); actual and simulated texture; disproportionate figure of son (exaggeration)

• Iconography:

– Secularized “Pieta”

– Grieving Mom Cradles Dead Son

– Cloak “protects” dignity of both

– Personal, Political, Religious

• Patron: Artist & Public

– Originally for private viewing

– Commemorative Personal Memorial

• Commemorative Memorial

• Expressionist Version of Theme

• Role of artist: Reveal sorrow & love for a child, record event (death of son), personal expression & “reflection” (Kollwitz Museum)

Figure #17

Figure #17

Kokoschka, “Pieta”, 1909, German Expressionist

• Abstract Portrait:

– Mother & Deceased Son

• Large-Scale Poster Print

• Unity: 1 theme;, Dark Background, central figures, repetition of color, shapes, lines, text

• Expressive theme, lines, gestures; bold color focal area (red figure & largest in scale); asymmetrical; open form; space through scale variation, placement, overlapping; images & text; implied light & time (night); simulated texture; disproportionate figures (abstraction)

• Iconography:

– Secularized “Pieta”

– Flayed blood-red man (son) clings to skeletal woman (mom)

– Personal, Political, Religious

• Patron: Artist & Public

– Poster for artist’s 1909 play “Murderer, Hope For Women”

– Public Viewing/Advertisement

• Macabre Abstracted Version of Theme

• Role of Artist: Personal expression, advertise program, record event (play & historical events/tragedies/war…)

Figure #18

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Harald Haacke, “Mother with her Dead Son – Reinterpretation”, 2005. WWI Holocaust War Memorial Installation, Bronze,

Berlin, Neue Wache, Germany, interior view. Reinterpretation of smaller-scale original sculpture by Kathe Kollwitz

Oculus exposes sculpture to the elements – symbolizes life & death; social injustice of the

Holocaust

Large open room: place for reflection, silence, reminds viewers of gas chamber room (Slatkin, Women Artists; Kollwitz Museum)

Purpose/Function: Commemorative Memorial to Holocaust Victims; Educational; Historical; Aesthetic

Current Value: Aesthetic / Economic / Educational /

Historical

Figure # 19

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Figure # 20 16

https://www.mfah.org/art/search?artist=K%C3%A4the+Kollwitz

• Kathe Kollwitz’ Style = German Expressionism

• German Expressionism: Time Period, Cultural, Personal Style – During WWI & WWII (1880’s-1945)

– Geographical: Begins in Germany

– Various Artists , Similar Themes & Characteristics

• Influences on Artist:

– Education, Life Experiences, Social & Political Factors

– Academically Trained, Socialist Background, Death of Family Members, Social Injustices, War…

• Personal Style:

– Personal, Social & Political Themes (Often Propagandistic), Religious Allegory

– Psychological Effect on Viewer: Emotional Subject Matter, Black & White Contrast, Expressive Line, Implied Motion, Religious Allegory

– Preferred Printmaking (less expensive, accessible, easy to disseminate message)

– Personalizes “Pieta” Theme (Religious Allegory) Due to Sons Death in WWI

• Value of Art: Commemorative, Economic, Educational, Aesthetic, Historical

• Still popular, collectible, & relevant for the 21st century!

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Figure #1: Erfurth, Hugo. “Kathe Kollwitz”, ca. 1925 in Encyclopaedia Britannica. London: Dover P, 2008. https://www.britannica.com/biography/Kathe-Kollwitz

Figure #2: Family Gravestone, “Rest in the Peace of His Hands”, 1935/36, Located in Berlin- Friedrichesfeld. Approx. 2 ½ ft. Saskia, Ltd.,2001-2005. http://www.saskia.com/

Figure #3: “Kathe Kollwitz”, Women in German History, German Stamp Collection, 1991, 1”x1.5”. Saskia Ltd., 2001-2005. http://www.saskia.com/

Figure #4: “Map of Germany” in World Travels, Globe Media, Ltd, 2014. http://www.wordtravels.com/Travelguide/Countries/Germany/Map

Figure #5: Kathe Kollwitz in front of her charcoal drawing “Self Portrait, Drawing”, 1933. Photo 1935, 5x7, National Gallery of Art, Washington D.C.,. Saskia, Ltd.,2001-2005. http://www.saskia.com/

Figure #6: Kathe Kollwitz, “Germany’s Children are Starving!...”, 1924, 94.5 x 56 cm., Kathe Kollwitz Berlin Museum. Saskia Ltd., 2001-2005. http://www.saskia.com/

Figure #7: Kathe Kollwitz, “Never Again, War”, 1924, Propaganda Poster for the Central German Youth Conference of the Socialist Workers Movement . MOMA. Saskia Ltd., 2001-2005. http://www.saskia.com/

Figure #8: “March of the Weavers (Weberzug) ” from the series Weaver's Revolt (Ein Weberaufstand), 1893-1897, Etching, Plate: 21.4 x 29.7 cm; sheet: 31.2 x 44.7 cm, MOMA. http://www.kaethe-kollwitz.de/museum-en.htm

Figure #9: “The Prisoners “ (Bauernkrieg: Die Gefangenen) from the series Weaver’s Revolt, etching, Plate: 32.5 x 42.5 cm, Sheet: 44.9 x 62.3 cm). Kathe Kollwitz Museum, Berlin. http://www.kaethe-kollwitz.de/museum-en.htm

Figure #10: “The Survivors- War Against War!” Poster Print, Sept, 1924 /Patron: International Trade Union Organization for Anti-War Day. Kathe Kollwitz Museum, Berlin, 32.5 x 42.5 cm, Saskia, Ltd.,2001-2005. http://www.saskia.com/

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Figure #11: Kolllwitz, “Death Seizes a Woman”, 1934, print. “ Kathe Kollwitz” in MOMA . Online Collection. New York: MOMA, 2014. ttp://www.moma.org/collection/object.php?object_id=117570

Figure #12: Actual & Implied Line Drawings on Copy of Kollwitz’ “Death Seizing a Woman Print”, 50 x 36 cm, Saskia, Ltd., 2001-2005. http://www.saskia.com/

Figure #13: “German Expressionism: Works from the Collection” in MOMA: Museum of Modern Art, New York City, New York. Online Art Exhibit. http://www.moma.org/explore/collection/ge/artists (Figures #13a, #13b, #13c).

Figure #14: Michelangelo Buonarroti, Pieta, 1498 -99, carved marble, 1.74 m x 1.95 m., St. Peter’s Basilica - Vatican, Italy, Rome. Saskia, Ltd., 2001-2005. http://www.saskia.com/

Figure #15: Kollwitz, “Pieta”, 1937-39, bronze. Kathe Kollwitz Museum-Berlin. Kathe Kollwitz Museum, Berlin. VG Bild-Kunst, Bonn , 2005. http://www.kaethe-kollwitz.de/museum-en.htm

Figure #16: Ditto.

Figure #17: Oskar Kokoschka, “Pieta” (Poster for Murder, Hope for Women), 1909, 122.7 x 78.6 cm. “German Expressionism: Works from the Collection” in MOMA: Museum of Modern Art, New York City, New York. Online Art Exhibit. http://www.moma.org/explore/collection/ge/artists

Figure #18: “To the Victims of War & Tyranny”, Mother with her Dead Son – Reinterpretation, Large- Scale Bronze, Berlin, Neue Wache (New Guard House) Unter den Liden, Germany, interior view, Reinterpretation of smaller-scale original sculpture by Kathe Kollwitz (See Figure #15), Installation, 2005. Kathe Kollwitz Museum, Berlin, Germany. http://www.kaethe-kollwitz.de/spurensuche-en2.htm

Figure #19: Left: Kollwitz, “Self Portrait”, Print (ca. 1920); Right: “Mother & Child”, Print (ca. 1900). “Kathe Kollwitz” in Antiques Roadshow. Appraisal Show, July 12, 2008, Wichita Kansas, Wichita Hour2 - #1308. Original Airing: Feb. 23, 2009. PBS Online, WGBH, Boston, 1997-2014. http://www.pbs.org/wgbh/roadshow/archive/200803A06.html

Figure #20: “Kathe Kollwitz” in Museum of Fine Arts, Houston. 1001 Bissonett, Houston, TX.

https://www.mfah.org/art/search?artist=K%C3%A4the+Kollwitz

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Bertrand, Sandra L. “Kathe Kollwitz, Woman with Dead Child” in Literature, Arts, and Medicine Database, NYUMC.org: 1/19/04. http://litmed.med.nyu.edu/Annotation?action=view&annid=10388 Frank, Patrick. Preble's’ Artforms. 10th ed. Upper Saddle River, New Jersey: Prentice Hall, 2011. “German Expressionism: Works from the Collection” in MOMA: Museum of Modern Art, New York City, New York. Online Art Exhibit. http://www.moma.org/explore/collection/ge/artists “Kathe Kollwitz” in Antiques Roadshow. (Self-Portrait & Mother & Child). Appraisal Show, July 12, 2008, Wichita Kansas, Wichita Hour2 - #1308. Original Airing: Feb. 23, 2009. PBS Online, WGBH, Boston, 1997- 2014. http://www.pbs.org/wgbh/roadshow/archive/200803A06.html “Kathe Kollwitz”” in Artcyclopedia. John Malyon/Specifica, Inc. , 2011. http://www.artcyclopedia.com/artists/kollwitz_kathe.html. “Kathe Kollwitz” in MOMA . Online Collection. New York: MOMA, 2014. http://www.moma.org/collection/object.php?object_id=117570

“Kathe Kollwitz” in Encyclopaedia Britannica. London: Dover P., 2008. https://www.britannica.com/biography/Kathe-Kollwitz

“Kathe Kollwitz” in Museum of Fine Arts, Houston. 1001 Bissonett, Houston, TX. https://www.mfah.org/art/search?artist=K%C3%A4the+Kollwitz “Kathe Kollwitz” in Saskia (Visual Image Depository). Saskia, Ltd.,2001-2005. http://www.saskia.com/ “Kathe Kollwitz” in Spartacus Educational. Spartiacus Educational Publishers. http://www.spartacus.schoolnet.co.uk/ARTkollwitz.htm. Online Encyclopedia. “Kathe Kollwitz” in Visit.Berlin .TV. Video Documentary of Kathe Kollwitz Museum, Berlin. http://www.youtube.com/watch?v=d3lXZyuSYPQ “Kathe Kollwitz: A Social Activist in the Era of WWI.” Dallas Museum of Art. Exhibit, May 3rd, 2014 – November 16, 2014 (Level II). http://www.dma.org/art/exhibitions/k-kollwitz-social-activist-era-world-war-I Kathe Kollwitz Museum-Berlin. http://www.kaethe-kollwitz.de/museum-en.htm. Museum Online Website. VG Bild-Kunst, Bonn 2005. “Map of Germany” in World Travels, Globe Media, Ltd, 2014. http://www.wordtravels.com/Travelguide/Countries/Germany/Map “Oskar Kokoschka, German Expressionism: Works from the Collection” in MOMA: Museum of Modern Art, New York City, New York. Online Art Exhibit. http://www.moma.org/explore/collection/ge/artists Piper, Sir David, ed. “Expressionism” in The Random House Dictionary of Art and Artists. New York: Random House, 1990. 178. Sayre, Henry M. “Chapter 21: From 1900 to the Present” in A World of Art. 7th ed. Upper Saddle River, New Jersey: Pearson, 2013. 184-185, 513-514. Slatkin, Wendy. “Chapter 18: Germany - Kathe Kollwitz” in The Voices of Women Artists. Upper Saddle River, New Jersey: Prentice Hall. 181-192. _____. “German Expressionists: 1900-1910” in Women Artists in History: From Antiquity to the Present. 4th Edition. 181-183.