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"Woman with Dead Child” (1903), soft-ground etching with overprinted engraving, by Käthe Kollwitz, © The Trustees of the British Museum


Käthe Kollwitz (1867-1945)  may not be the greatest 20th-century German artist, but she is certainly the most popular in her native land. Everything about her was symbolic: her life, spanning the whole era from Bismarck to Hitler; her art, which focused relentlessly on the timeless themes of suffering, ageing and death; and her compassion, above all for mothers and children, the unseen and unheard.

Her mainly monochrome media — prints and sculpture — emphasise the monumental quality that persuaded the reunified Germany to place her bronze Mother with her Dead Son in the Neue Wache in Berlin’s Unter den Linden, the national memorial to the victims of war and dictatorship. When her friend, the artist Ernst Barlach (of whose corpse she drew a powerful image on his deathbed in 1938), created his great sculpture, the Floating Angel to hang in the cathedral of Güstrow, he gave it the features of Kollwitz. The Angel was the star attraction in the British Museum’s 2014 show Germany: Memories of a Nation, but the exhibition also included more works by Kollwitz herself than any other artist except Albrecht Dürer. Now the Ikon Gallery in Birmingham has borrowed from the BM’s collection of her etchings, lithographs, engravings and woodcuts for an exhibition dedicated exclusively to her work.


"Self Portrait” (1924), lithograph; by Käthe Kollwitz, © The Trustees of the British Museum.

She was a feminist avant la lettre: snubbed by the Kaiser, she went on to become the first woman elected to the Prussian Academy of Art, only to find herself excluded by the Nazis. As the wife of a doctor working among the poor of Berlin, she had no shortage of models, but her most frequent subject was herself: the series of more than 50 self-portraits bears comparison with Rembrandt’s in their unforgiving depiction of the toll taken by time.  
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