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The composition, with the emaciated young man with helping hands reaching toward him, makes her plea explicit. In the years following World War I, Kollwitz created many such prints to aid with the relief of countless victims of post-war hunger, unemployment, and poverty by using posters to draw attention to their plight. While Kollwitz did not align herself with any radical political groups, she was always outspoken in her support of the rights of people of all nations.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. 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Seabolt-Doty in memory of Constance Forsyth, 1988", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "German", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 5078, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5078", "Disp_Access_No" : "1985.104", "_AccNumSort1" : "", "Disp_Create_DT" : "1932", "_Disp_Start_Dat" : "1932", "_Disp_End_Date" : "1932", "Disp_Title" : "Kinderkopf [Child's Head] (Lotte)", "Alt_Title" : "Child's Head (Lotte)", "Obj_Title" : "Kinderkopf [Child's Head] (Lotte)", "Series_Title" : "", "Disp_Maker_1" : "Käthe Kollwitz", "Sort_Artist" : "Kollwitz, Käthe", "Disp_Dimen" : "37.8 cm x 26.2 cm (14 7/8 in. x 10 5/16 in.)", "Disp_Height" : "37.8 cm", "Disp_Width" : "26.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Latane Temple, 1985", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "German", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 9867, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9867", "Disp_Access_No" : "1996.151.4/7", "_AccNumSort1" : "", "Disp_Create_DT" : "1922-1923", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1923", "Disp_Title" : "Die Witwe I [The Widow I], plate IV from Sieben Holzschnitte zum Krieg [Seven Woodcuts on War]", "Alt_Title" : "", "Obj_Title" : "Die Witwe I [The Widow I], plate IV from Sieben Holzschnitte zum Krieg [Seven Woodcuts on War]", "Series_Title" : "", "Disp_Maker_1" : "Käthe Kollwitz", "Sort_Artist" : "Kollwitz, Käthe", "Disp_Dimen" : "65.7 cm x 47.3 cm (25 7/8 in. x 18 5/8 in.)", "Disp_Height" : "65.7 cm", "Disp_Width" : "47.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "Beginning her study of art at age 12, Käthe Kollwitz settled early in her career on printmaking, whose graphic qualities could readily convey the harshness of her subjects: poverty, suffering, and war. Through radically simplified compositions and an austere palette of black and white, Kollwitz decried the atrocities of World War I that claimed the lives of millions of her countrymen, including that of her youngest son. Five years after her son’s death, Kollwitz began experimenting with the woodcut medium, which provided an expressive vehicle for describing her grief. The cuts and slashes that define the figure in The Widow I, like its companions in the series Seven Woodcuts on War, convey not the violence of the battlefields but the trauma inflicted on those left behind. The widow’s face is turned away, as if she were seeking privacy in which to mourn; her oversized hands anchor the composition. The style tends toward the expressionistic, providing as much a portrait of the artist’s own psychological state as that of the subject she depicts.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Transfer from the General Libraries, The University of Texas at Austin, 1996", "Copyright_Type" : "approval on case by case basis.", "Disp_Obj_Type" : "print", "Creation_Place2" : "German", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1996.151.4-7.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.151.4-7.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.151.4-7.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.151.4-7.tif", "IsPrimary" : "1", "_SurrogateID" : "5300", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ 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"Disp_Medium" : "Woodcut", "Info_Page_Comm" : "Born into a comfortable middle-class family, Käthe Kollwitz focused her art on the desperate condition of the peasants and proletariat with whom she came into contact, first through literary sources and then directly through her husband’s medical practice. She explained in an interview that these subjects interested her more for aesthetic than social reasons, but she is remembered as a socially engaged artist who protested vehemently against World War I. Here again she felt some ambivalence, as she supported her son’s decision to volunteer to join the German army against her husband’s wishes. His death in Flanders shortly after enlisting became the fulcrum upon which her later art balanced. This powerful woodcut comes from her most famous series. About it she wrote in her diary, “Yet again I am not finished with the War series. Done the sheet ‘Parents’ over again. Suddenly it looks entirely bad to me. Far too bright and hard and distinct. Pain is totally dark.” Although she was dissatisfied with the outcome, the woodcut medium, its heavy black planes slashed here with stark white highlights, aptly conveys the sense of nearly uncontrollable parental grief at the loss of a child. 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