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War Languages Women and war in the art of Käthe Kollwitz. Vesa Matteo Piludu. University of Helsinki Department of Art Research. Millet Gleaners 1857 . Angelus. Shepherdess with Her Flock 1864. Title The Weeders Date 1868 . Song of the Lark, 1884. Woman Sewing by Lamplight 1870.

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War Languages Women and war in the art of Käthe Kollwitz

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War LanguagesWomen and war in the art ofKäthe Kollwitz

Vesa Matteo Piludu

University of Helsinki

Department of Art Research


Millet Gleaners 1857


Angelus


Shepherdess with Her Flock1864


TitleThe WeedersDate 1868


Song of the Lark, 1884


Woman Sewing by Lamplight 1870


Jean Francois Millet - 1850


Millet Winnower 1847-8


Courbet, The grain Sifters


Gustave Courbet, Sleeping spinner 1857


A woman Asleep 1657


Daumier, HonorLaveuse au Quai d'Anjou (Laundress on the Quai d'Anjou)c. 1860


Daumier, HonorThe Burden (The Laundress) c. 1850-53


Degas, women ironig


Degas

  • Degas’ penetrating observation, captured subtle differences in people’s faces and body language (especially within different economic classes).

  • Degas respected the hard-working immigrants from Eastern Europe, especially working women.


Woman ironing', Edgar Degas, c.1890

  • The art of Degas was that of a 'Naturalist', depicting what was considered “vulgar”

  • laundresses were commonly thought of as borderline prostitutes - in a way that was almost scientific


Two washer women by Degas


Il quarto stato, Pellizza da Valpredo (1901)


Käthe Kollwitz - Farmers' war

  • Much of the art of modern social protest traces its roots to the work of German artist Käthe Kollwitz.

  • One of a cycle of prints and drawings which the youthful Kollwitz produced on the theme of peasant revolt

  • The cycle hearkened back to the Bauernkrieg (literally, "farmers' war") of the sixteenth century while portraying the dire straits of agricultural laborers in contemporary Germany.


Käthe Kollwitz Ploughers, etching and aquatint, 1906

  • The Plougher of her Peasant War series symbolises the oppressed of every age. Not the man behind the plough, but reduced to pulling it himself, he is a virtual beast of burden


Kathe Kollwitz (German, 1867 - 1945)Brot! (Bread!)1933


Arbeitslosigkeit, 1909, (Unemployment )


Hunger, 1925


Käthe KollwitzHunger 1925


Mother Holding Child in Her Arms, Second Version 1910


Kathe Kollwitz, Poverty, 1893-94


Käthe Kollwitz (German, 1867-1945), Tod in Wasser / Death in the water

  • this lithograph, produced shortly after Hitler assumed power, shows a drowned family, perhaps a prophetic vision of Germany's future as a country about to be drowning in death


Kathe Kollwitz (1867-1945), Woman with her Dead Child (1903)


Käthe KollwitzDeath Seizes the Children 1934


KATHE KOLLWITZ 1867 - 1945Woman in the Lap of Death (Tod mit Frau im Schoss)Woodcut on ivory wove paper, 1921


Rosa Luxemburg

  • Karl Liebknecht and Rosa Luxemburg were among the founders of the Berlin Spartakusbund (Spartacus League)

  • On January 15, 1919, Liebknecht and Luxemburg were shot to death during the Spartacus Revolt on the pretext that they were attempting escape.

  • In this instance Kollwitz emphasizes grief and the human element over any explicit political reference


lmost whetted by Käthe Kollwitz

  • No wonder the resentment of Kollwitz's peasant woman is also sharpened as she whets her scythe-in an etching significantly titled Almost whetted


Käthe Kollwitz (German, 1867-1945)Weberzug [March of the Weavers], fourth plate in Ein Weberaustand [Revolt of the Weavers], 1897


Käthe Kollwitz Revolt, THE PEASANT WAR 1899-1908


Käthe Kollwitz, Outbreak, 1903


Kathe Kollwitz, Killed in Action (1921)


Kathe Kollwitz, Widows and Orphans (1919)


The parents


Mothers


After the Battle by Kathe Kollwitz.


The survivors say: War to War!

The text on the right side says: Do not teach the children to glorify the war and war hero's; teach them to despise war

The Survivors, a drawing by the German artist Kathe Kollwitz, was used for a peace congress in The Hague, Holland, in 1922.


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