Podcasts about Kollwitz

Das Augustinermuseum zeigt in „Alter!“ 77 Grafiken aus fünf Jahrhunderten und fragt: Wie haben Künstlerinnen und Künstler im Laufe der Zeit das Alter thematisiert? Unter anderem mit Druckgrafiken von Rembrandt, van Rijn, Erich Heckel, Käthe Kollwitz und Pablo Picasso.

„Alter!“ so begrüßen sich heutzutage gerne sehr junge Menschen und „Alter!“ so betitelt das Augustinermuseum seine neueste Ausstellung. Sie zeigt 77 Grafiken aus fünf Jahrhunderten und fragt: Wie haben Künstler in den letzten Jahrhunderten das Älterwerden und das Alter thematisiert? Unter anderem mit Druckgrafiken von Rembrandt van Rijn, Erich Heckel, Käthe Kollwitz und Pablo Picasso.

Die Künstlerin Käthe Kollwitz war Aktivistin und Pazifistin. Ihr Schaffen hat bis heute nichts an Bedeutung verloren.

gesprochen von Ulrike Lynn

Amanda Holmes reads Muriel Rukeyser's “Käthe Kollwitz.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman. This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. Hosted on Acast. See acast.com/privacy for more information.

Hoy nuestro artesano, Pablo Ortiz de Zárate, nos presenta a Käthe Kollwitz, una artista alemana que, en lugar de buscar el éxito económico, dedicó su arte a denunciar injusticias sociales y aliviar el sufrimiento de los más desfavorecidos. A través de sus impactantes grabados, abordó temas como la pobreza, la guerra y el duelo, convirtiéndose en una de las grandes voces del arte político y humanista.

Bob Pop abre su gabinete de consultas en "Cuenta con Bob" y se queja de consultas tristes. Más alegría tenemos en "La Dupla", con Galder Reguera y Rafa Cabeleira, que reciben a Álvaro Rivas, del grupo Alcalá Norte, para hablar de su visión del fútbol. Pablo Ortiz de Zárate nos trae al "ArteSano" a Käthe Kollwitz. Sergio Castro y Pepe Rubio tratan de desmontar el mito sobre la vigencia del arte moderno: ¿es arte o engaño?

Tyske Käthe Kollwitz (1867–1945), en af det tyvende århundredes største kunstnere, udtrykte sig ofte i grafiske serier, nogle decideret fortællende. Tegneserier, med andre ord. Sammen med Rikke Villadsen kigger vi nærmere på hendes arbejde. Villadsen, der for nylig udsendte tegneserien En samtale med Käthe Kollwitz har i en årrække fordybet sig i kunstnerens værker og kan således levere et indlevet, udøvende perspektiv. Det drejer sig her primært om gennembrudsværket “Væveropstanden” (1894–97) og opfølgeren “Bondekrigen” (1902/3–8). Vi nærlæser dem og udleder en bredere analyse af Kollwitz' kunst. Episoden er indspillet i anledning at udstillingen Käthe Kollwitz: Mensch på SMK i København (7. november 2024–23. februar 2025).

Somaya Critchlow talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Critchlow, born in London in 1993, makes paintings and drawings of Black women, often nude, that are rooted in the present and yet draw on a wealth of imagery from the recent and distant past. The women are fictional but can be informed by anything from self-portraits and other life studies to images from pop culture and depictions of women in the history of art. They engage frankly with what it means to represent the female body and with power relations: between the artist and her subject, between the subject and the viewer, and ultimately between Critchlow and us. Depending on your perspective, her art offers different degrees of delight and discomfort. But her balance of fine drawing, a time-honoured approach to paint and colour, and arresting imagery means that her work is endlessly intriguing. She discusses the breakthrough moment where she realised that she was her own first model, being “comfortable with feeling uncomfortable”, the influence on her of Angela Carter's response to the Marquis de Sade, her engagement with a wealth of visual artists, from Käthe Kollwitz to Francesca Woodman, Leonor Fini, Titian and Francesco de Goya, the power of David Lynch's films and the consistent importance to her of Japanese manga. She gives insight into her life in the studio and responds to our usual questions, including the ultimate: what is art for?Somaya Critchlow: The Chamber, Dulwich Picture Gallery, London, until 20 July. Group shows: A Room Hung with Thoughts British Painting Now, Green Family Art Foundation, Dallas, US, until 11 May; Woman in a Rowboat, Olivia Foundation, Mexico City, until 28 September.This podcast is sponsored by Bloomberg Connects, the arts and culture app. The free app offers access to a vast range of international cultural organisations through a single download, with new guides being added regularly. They include the Dulwich Picture Gallery, where Somaya Critchlow is showing her work between February and July of 2025. If you download Bloomberg Connects you'll find that the guide to the gallery has a section on the exhibition, with pictures of Somaya's work in situ in the historic gallery spaces. There is also extensive content on the gallery's other exhibition, Tirzah Garwood: Beyond Ravilious, the first major exhibition of the British artist. You can explore the works while listening to the actor Tamsin Greig reading excerpts from Garwood's autobiography. Elsewhere, the guide features an animated film telling the story of the gallery and a guided tour of the many masterpieces in its collection. Hosted on Acast. See acast.com/privacy for more information.

Fareed Armaly lehnt den Käthe-Kollwitz-Preis der Berliner Akademie der Künste ab. Der US-amerikanisch-palästinensische Künstler beklagt seit dem Angriff der Hamas auf Israel eine reaktionäre Wende und Zensur-Tendenzen in der deutschen Kulturszene. Probst, Carsten www.deutschlandfunkkultur.de, Fazit

Wir alle kennen sie, und doch gehen wir ganz unterschiedlich mit ihr um: die Wut. Diese allzu menschliche Emotion ist in der Gesellschaft eher negativ besetzt und wird in der Kunst, wie bei Otto Dix, sogar als Monster dargestellt. Wie wir unsere Wut positiv nutzen können und warum manche Menschen unseren Zorn provozieren, um Aufmerksamkeit zu erregen, zeigen die Werke aus der Sammlung der Kunsthalle, die der Psychologe Can Isyapar und die Autorin Jaqueline Scheiber in dieser Folge der Kunstcouch diskutieren.

Hear from artists, writers, and therapists about what happens when art and grief collide. When was the last time you grieved? What is for a person or an animal? A place or a thing? Did you experience grief at the loss of something intangible? These questions are not meant to cause pain. Rather, they offer an opportunity to acknowledge the grief that may be hiding within us—even if it's been several years since you experienced the loss. Many artists have used their talents to document, understand, and share their experiences of death, dying, grief, and loss. In this Magazine podcast episode, we discuss three of these artists: Kay WalkingStick, Georg Kolbe, and Käthe Kollwitz. We'll explore how grief entered their lives and how art helped them see it in new ways. We'll also hear from a somatic therapist and a thanatologist (a person who studies death and grief). Together, they'll help us make sense of this complex experience that affects our bodies, minds, and spirits, and discuss the role of art in helping us heal.   Access a transcript of the conversation here: https://www.moma.org/magazine/articles/1178

Mark your calendars! The new season of The Lonely Palette drops Thursday, January 23rd! This season, we've got a stellar line-up: Cy Twombly, Lawren Harris, Käthe Kollwitz, and Felix Gonzalez-Torres, to name just a few. We've got interviews with the Washington Post's Sebastian Smee, the artist and composer Annea Lockwood, and more. We've got a whole National Gallery residency! So listen and subscribe, rate and review, and fire up your earbuds for another season of looking with your ears.

Den verdensberømte skuespiller Kate Winslet medvirkede i denne uge i interview-formatet "60 minutes" på den amerikanske tv-station CBS. I programmet taler hun blandt andet om det massive fokus, der har været på hendes krop gennem hele karrieren. Vi får en filmekspert i studiet til en snak om Winslets karriere og hendes udfordringer med kropslig udskamning. Tirsdag sendte Sydkoreas præsident Yoon Suk Yeol chokbølger gennem landet, da han erklærede millitær undtagelsestilstand. Kort tid efter strømmede folk på gaden for at vise deres utilfredshed. Dette er dog ikke usædvanligt for sydkoreanerne, der har stor tradition for at protestere. Vi taler med en journalist der tidligere har boet i Sydkorea om landets protestkultur. Vi skal også forbi de kongelige kronjuveler, kunstneren Käthe Kollwitz og meget mere. Værter: Adam Holm, Gustav Hagild og Gitte Løkkegaard. I redaktionen: Clara Faust Spies, Josephine Gaïa Utoft og Nanna Sloth Skardhamar. Redaktør: Silke Fensman.

Wykład Ewy Frąckowiak, Muzeum Narodowe w Warszawie, 30 stycznia 2020 [1h09min] https://wszechnica.org.pl/wyklad/z-badan-nad-grafika-autorska-drugiej-polowy-xix-wieku-ewa-frackowiak/ Grafika autorska w XIX w. była tematem wykładu Ewy Frąckowiak, który towarzyszył ekspozycji „Wystawa, które nie było… Ignacy Łopieński (1865-1941) w Muzeum Narodowym w Warszawie. Prelegentka podczas pierwszej część wykładu opowiada o XIX-wiecznych akwaforcistach, którzy działali przede wszystkim we Francji. W drugiej połowie tego stulecia akwaforta przestała być traktowana tam jako ilustracja do tekstów drukowanych. Technika graficzna przerodziła się w samodzielną dziedzinę sztuki. Artyści zwani peintre-graveurami, czyli malarzami grafikami, pchnęli ją na drogę eksperymentów technicznych i wizualnych. Twórcy ci, w celu podniesienie rangi swoich działań, w 1862 r. utworzyli Towarzystwo Akwaforcistów. Tutaj grafika autorska jest omówiona na przykładzie prac takich twórców, jak Jean Baptiste-Camille Corot, Jean-François Millet, Auguste Delâtre czy Félix Bracquemond. Ewa Frąckowiak przybliża tajniki warsztatu artystów oraz historię, jaka stoi za powstaniem ich dzieł. W kolejnej części swojego wystąpienia prelegentka opowiada o innych technikach graficznych popularnych w XIX w. Omawia cynkografię, litografię i drzeworyt. Szerzej w tym kontekście pojawiają się Pierre Bonnard, Ambroise Vollard, Eugène Carrière, Maurice Denise, Vincent van Gogh, Henri de Toulouse-Lautrec, Félix Vallotton i Paula Gaugin. Grafika autorska w „Germinalu” Wykład zamyka szersze opisanie dwóch wydawnictw związanych z grafiką autorską w XIX w. Pierwsze z nich to francuski „Germinal”. Tekę przygotował Julius Meier-Graephe, słynny historyk i krytyk sztuki. Zawierała 20 rycin autorskich. Tytuł nawiązywał do powieści Emila Zoli i symbolizował nowoczesność oraz rewolucyjne zmiany w sztuce. Twórcy zamówionych prac otrzymali swobodę wyboru tematyki, techniki, formatu a nawet rodzaju papieru, na którym odbito prace. Wydawnictwo zostało powielone w 100 numerowanych egzemplarzach. Muzeum Narodowe w Warszawie jest jedyną oprócz Biblioteki Narodowej we Francji instytucją, która posiada w swoich zbiorach kompletną tekę. Drugie z opisanych wydawnictw to niemieckie czasopismo i wydawnictwo artystyczne „Pan”. Prelegenka omawia prace związanych z wydawnictwem twórców, jak Peter Behrens, Félicien Rops, Théophile Alexandre Steinlen, Maurice Denis, Auguste Rodin, Käthe Kollwitz, Max Klinger, Walter Leistikow, Emil Orlik, Frits Lugt. Większość prezentowanych podczas wykładu grafik można obejrzeć w muzeum cyfrowym MNW pod adresem http://cyfrowe.mnw.art.pl/dmuseion/. Ewa Frąckowiak – jest kustoszką w Gabinecie Rycin i Rysunków Muzeum Narodowego w Warszawie, gdzie roztacza opiekę merytoryczną nad kolekcją grafiki europejskiej XIX i początku XX w. Znajdź nas: https://www.youtube.com/c/WszechnicaFWW/ https://www.facebook.com/WszechnicaFWW1/ https://anchor.fm/wszechnicaorgpl---historia https://anchor.fm/wszechnica-fww-nauka https://wszechnica.org.pl/ #sztuka #kultura #muzeum #muzeumnarodowe #grafika

Pocas ciudades en el mundo tienen la historia de Berlín. No sólo por sus diversas situaciones geopolíticas, sino por la historia artística que alberga. Recorriendo sus calles, constatamos dicha historia contemplando sus monumentos, sus cicatrices, sus estaciones de metro, sus museos… Berlín siempre ha sido un lugar de refugio, cambios, reflexiones e interacciones con el arte y sus movimientos que marcaron épocas y etapas. El Arte en Berlín: Un Viaje por la Vanguardia y la Historia Berlín, la capital de Alemania, es un crisol cultural donde convergen la historia y la modernidad en una de las escenas artísticas más dinámicas de Europa. Desde las épocas gloriosas del arte clásico hasta la turbulencia del siglo XX y la constante reinvención del presente, Berlín ofrece un recorrido único para los amantes del arte. Este artículo explora las diversas facetas del arte en Berlín, desde sus icónicos museos hasta sus vibrantes galerías contemporáneas y el impacto de su tumultuosa historia. Un Epicentro Histórico del Arte Europeo Berlín ha sido un bastión del arte europeo desde hace siglos, pero su importancia como capital cultural creció especialmente durante el siglo XIX, cuando la ciudad se convirtió en un centro intelectual y artístico bajo el Imperio Alemán. La Isla de los Museos (Museumsinsel), ubicada en el río Spree, es el testimonio más tangible de esta época dorada. Este complejo de museos es Patrimonio de la Humanidad por la UNESCO y alberga algunos de los tesoros más importantes del arte mundial. Entre sus cinco museos principales, destacan: 1. El Museo de Pérgamo (Pergamonmuseum): Famoso por su colección de arte antiguo, alberga piezas monumentales como el Altar de Pérgamo y la Puerta de Ishtar de Babilonia. Este museo es una visita imprescindible para quienes deseen explorar las raíces del arte antiguo y sus conexiones con la modernidad. 2. La Galería Nacional Antigua (Alte Nationalgalerie): Se especializa en obras del Romanticismo alemán, el Impresionismo y el Clasicismo. Aquí es posible contemplar obras maestras de Caspar David Friedrich, Claude Monet y Édouard Manet. 3. El Museo Bode: Reconocido por su colección de escultura y arte bizantino, además de su amplia galería numismática. Estas instituciones ofrecen un vistazo a los fundamentos clásicos y antiguos del arte, en contraste con el Berlín contemporáneo, marcado por su inclinación hacia la vanguardia y el arte experimental. El Arte en el Siglo XX: Expresionismo, Guerra y Renacimiento El siglo XX fue un período de transformaciones dramáticas para Berlín, y estas se reflejan poderosamente en su arte. A comienzos de siglo, la ciudad fue cuna del Expresionismo Alemán, un movimiento que rompió con las convenciones tradicionales del arte al enfocarse en emociones crudas y subjetivas. Artistas como Ernst Ludwig Kirchner, Emil Nolde y Käthe Kollwitz retrataron una ciudad vibrante y angustiada, marcada por la rápida industrialización y las tensiones sociales. La devastación causada por la Segunda Guerra Mundial dejó cicatrices imborrables tanto en la ciudad como en su escena artística. Tras la guerra, Berlín quedó dividida en dos: Oriente bajo la influencia soviética y Occidente bajo la tutela occidental. Este periodo vio el surgimiento de un Berlín Oriental marcado por el arte de la propaganda, mientras que Berlín Occidental se convirtió en un punto focal del arte experimental. El Muro de Berlín, que dividió la ciudad entre 1961 y 1989, no solo simbolizó la separación política, sino también la separación artística. Sin embargo, su caída en 1989 marcó un renacimiento cultural sin precedentes. Las paredes del muro, antes emblema de la represión, se transformaron en lienzos para artistas callejeros de todo el mundo, lo que dio lugar a la East Side Gallery, el tramo más largo del muro aún en pie, convertido en una galería al aire libre. Berlín Contemporáneo: Una Ciudad Vanguardia Tras la reunificación de Alemania, Berlín ha experimentado un auge cultural que la ha consolidado como uno de los principales centros del arte contemporáneo. Hoy, la ciudad alberga más de 400 galerías, lo que la convierte en un lugar de peregrinación para coleccionistas y aficionados al arte. Algunos de los espacios más importantes del arte contemporáneo incluyen: • Hamburger Bahnhof – Museo de Arte Contemporáneo: Un antiguo depósito de trenes convertido en museo, que alberga obras de artistas tan influyentes como Andy Warhol, Joseph Beuys y Anselm Kiefer. Este museo se ha convertido en uno de los epicentros del arte moderno en Berlín. • Berlinische Galerie: Este museo está dedicado al arte moderno desde principios del siglo XX hasta la actualidad, con un enfoque en el arte de Berlín. A menudo presenta exposiciones sobre el Expresionismo y la Bauhaus, dos movimientos estrechamente ligados a la historia artística de la ciudad. • KW Institute for Contemporary Art: KW es un espacio vanguardista conocido por su papel en la fundación de la Bienal de Berlín, uno de los eventos de arte más influyentes de Europa. Aquí, los visitantes pueden explorar lo último en arte experimental, performances y multimedia. El Arte Urbano: Berlín como Lienzo El arte callejero y el graffiti son partes fundamentales de la identidad visual de Berlín. A lo largo de los años, las calles de la ciudad han sido ocupadas por artistas locales e internacionales, que han transformado los muros grises en vibrantes murales llenos de expresión política y social. Distritos como Kreuzberg y Friedrichshain se han convertido en epicentros de este arte urbano, donde nombres como Blu, El Bocho y Victor Ash han dejado su huella. El RAW Gelände, un complejo industrial abandonado, es otro de los puntos clave para quienes buscan explorar el arte callejero de Berlín. Este espacio al aire libre está lleno de murales, instalaciones artísticas temporales y eventos culturales alternativos, lo que refleja el espíritu de constante transformación de la ciudad. Conclusión: Berlín, Ciudad del Arte sin Límites Berlín es una ciudad donde el pasado y el futuro del arte conviven en una tensión dinámica. Desde los tesoros antiguos de la Isla de los Museos hasta los murales callejeros que desafían las convenciones artísticas, Berlín es un lugar donde cualquier amante del arte puede encontrar inspiración. La ciudad continúa siendo un laboratorio de ideas, donde el arte se reinventa constantemente, en una búsqueda incesante por reflejar la complejidad de la vida urbana y la historia. Para los viajeros y residentes por igual, explorar Berlín es sumergirse en un diálogo continuo entre la tradición y la innovación. Otros temas en el programa: 31:06 Paréntesis 49:29 Lugares míticos 58:36 Axiomas No quiero matarte - Capítulo 2 Puedes leer más y comentar en mi web, en el enlace directo: https://luisbermejo.com/berlin-zz-podcast-06x04 Puedes encontrarme y comentar o enviar tu mensaje o preguntar en: WhatsApp: +34 613031122 Paypal: https://paypal.me/Bermejo Bizum: +34613031122 Web: https://luisbermejo.com Facebook: https://www.facebook.com/ZZPodcast/ X: https://x.com/LuisBermejo y https://x.com/zz_podcast Instagram: https://www.instagram.com/luisbermejo/ y https://www.instagram.com/zz_podcast/ Canal Telegram: https://t.me/ZZ_Podcast Canal WhatsApp: https://whatsapp.com/channel/0029Va89ttE6buMPHIIure1H Grupo Signal: https://signal.group/#CjQKIHTVyCK430A0dRu_O55cdjRQzmE1qIk36tCdsHHXgYveEhCuPeJhP3PoAqEpKurq_mAc Grupo Whatsapp: https://chat.whatsapp.com/FQadHkgRn00BzSbZzhNviThttps://chat.whatsapp.com/BNHYlv0p0XX7K4YOrOLei0

Sauerbruch, Matthias www.deutschlandfunkkultur.de, Fazit

Das Mainzer Landesmuseum unterhält die größte Grafiksammlung in Rheinland-Pfalz. In der Sonderausstellung „Curator's Choice“ gibt es Highlights von Albrecht Dürer, William Turner, Max Beckmann, Käthe Kollwitz oder Thilo Weckmüller zu sehen.

Reber, Simone www.deutschlandfunkkultur.de, Fazit

Probst, Carsten www.deutschlandfunk.de, Kultur heute

Käthe Kollwitz ist eine der bedeutendsten Künstlerinnen des 20. Jahrhunderts. Die Heirat mit dem Arzt Karl Kollwitz im Jahr 1891 führte sie nach Berlin, wo sie mit den schwierigen Lebensbedingungen der Arbeiterklasse konfrontiert wurde. Diese Erfahrungen prägten ihre künstlerische Arbeit tief und führten zur Entstehung beeindruckender Werke wie die Serie "Ein Weberaufstand" und die Skulpturengruppe "Trauerndes Elternpaar", die an den Verlust ihres Sohnes Peter im Ersten Weltkrieg erinnert. Käthe Kollwitz' Engagement für soziale Gerechtigkeit und ihr unermüdlicher Einsatz für die Rechte der Arbeiter machten sie zu einer bedeutenden Figur in der deutschen Kunstszene. In den 1920er Jahren erhielt sie als erste Frau eine Professur an der Preußischen Akademie der Künste. Trotz der Repressionen durch die Nationalsozialisten blieb sie künstlerisch aktiv und kämpfte bis zu ihrem Tod im April 1945 für Frieden und Menschlichkeit."Historische Heldinnen" lässt mithilfe von Künstlicher Intelligenz wichtige Frauen der Weltgeschichte auf ihr eigenes Leben zurückblicken. Selbstbewusst erzählen sie uns von ihrem Mut und ihrer Durchsetzungskraft.Viertausendhertz 2024 Hosted on Acast. See acast.com/privacy for more information.

An den Todestag von Käthe Kollwitz erinnert Enno Karstens.

Richard Serra, one of the greatest artists of the past 50 years, a linchpin of the post-minimalist scene in late 1960s and early 1970s New York and later the creator of vast steel ellipses and spirals, died on Tuesday 26 March. We mark the passing of this titan of sculpture with Donna De Salvo, the senior adjunct curator of special projects at the Dia Foundation, whose Dia Beacon space has several major works by Serra on permanent view. There are a host of exhibitions focusing on expressionist art in the US and Europe in 2024 and in this episode we focus on two of them. The first ever Käthe Kollwitz retrospective in New York is taking place at the Museum of Modern Art or MoMA, while other shows dedicated to her are taking place in Frankfurt and Stockholm. We speak to Starr Figura, the curator of MoMA's show, which opens this weekend, about Kollwitz's extraordinary work and life. Then, we talk to Natalia Sidlina, the curator of Expressionists: Kandinsky, Münter and the Blue Rider, a major survey opening at Tate Modern next month of the German Expressionist group, which looks anew at the deep friendships that formed the basis of the group, their international outlook and their multidisciplinary output.Richard Serra's work is on long-term view across five galleries at Dia Beacon, New York, US.Käthe Kollwitz, Museum of Modern Art, New York, 31 March-20 July; Städel Museum, Frankfurt, until 9 June; SMK – National Gallery of Denmark, Copenhagen, 7 November-25 February 2025.Expressionists: Kandinsky, Münter and the Blue Rider, Tate Modern, London, 25 April-20 October 2024; Gabriele Münter: the Great Expressionist Woman Painter, Thyssen Bornemisza, Madrid, 12 November-9 February 2025.Further expressionist exhibitions in 2024: The Anxious Eye: German Expressionism and Its Legacy, National Gallery of Art, Washington DC, until 27 May; Munch to Kirchner: The Heins Collection of Modern and Expressionist Art, Dallas Museum of Art, Texas, US, until 5 January 2025; Munch and Kirchner: Anxiety and Expression, Yale University Art Gallery, New Haven, Connecticut, US, until 23 June; Erich Heckel, Museum of Fine Arts Ghent, Belgium, 12 October-25 January 2025. Hosted on Acast. See acast.com/privacy for more information.

Die berühmteste deutsche Künstlerin des 20. Jahrhunderts ist Käthe Kollwitz. Ihr werden derzeit mehrere Ausstellungen gewidmet wie im Städelmuseum in Frankfurt und im MoMA in New York. Dort ist die erste Kollwitz-Retrospektive in einem New Yorker Museum überhaupt zu sehen. Silke Hohmann, Redakteurin bei Monopol, dem Magazin für Kunst und Leben, zeichnet ein Bild dieser starken Künstlern und Mutter, sie sich gesellschaftlich und politisch einmischte, und erzählt was Käthe Kollwitz heute so relevant und interessant macht. Moderation: Yvi Strüwing detektor.fm/was-wichtig-wird Podcast: detektor.fm/feeds/was-wichtig-wird Apple Podcasts: itun.es/de/9cztbb.c Google Podcasts: goo.gl/cmJioL Spotify: open.spotify.com/show/0UnRK019ItaDoWBQdCaLOt

Käthe Kollwitz, sie ist die berühmteste deutsche Künstlerin des 20. Jahrhunderts, bekannt für ihre anspruchsvollen und existenziellen Themen. Ihre einprägsame, eigenständige und empathische Bildsprache berührt uns bis heute. In der aktuellen Ausgabe des STÄDEL MIXTAPE betrachten wir ihr "Brustbild einer Arbeiterfrau mit blauem Tuch". Die Spuren harter Arbeit sind der Frau ins Gesicht eingeschrieben. Ganz nah sind wir als Betrachter an ihr dran, doch sie erwidert unseren Blick nicht. Wir schauen gemeinsam auf dieses prägnante Porträt und steigen ein in die Zeit der Industrialisierung, beschäftigen uns mit den Folgen und der Künstlerin Käthe Kollwitz. Musikalisch begleitet werden wir dabei von Oum Shatt, Einstürzende Neubauten, Blue Scholars und Masha Qrella. Mehr Infos auf mixtape.staedelmuseum.de

Blumenbecker, Stefanie www.deutschlandfunk.de, Kultur heute

Das Städel Museum Frankfurt ehrt Käthe Kollwitz mit einer großen Retrospektive. In den 110 Arbeiten zeigt sich die Experimentierfreude der expressionistischen Künstlerin - und auch, welche anti-bürgerliche Sprengkraft ihr Schaffen stets hatte. Blumenbecker, Stefanie www.deutschlandfunkkultur.de, Fazit

E. H. Gombrich's 1950 book The Story Of Art is one of art history's seminal texts. Now on it's 16th edition, it has sold over eight million copies and been translated into more than 30 languages. But it has one major flaw. The first edition didn't include any women artists, whilst subsequent editions feature just one; Käthe Kollwitz. Art historian Katy Hessel is on a mission to correct that. Her book The Story of Art Without Men re-examines art movements from the Renaissance to today, focusing on the achievements of women artists. Artists who have often been overshadowed by their male counterparts. Hessel's book challenges the traditional narrative and celebrates the artistic genius of women. Katy is also the curator behind popular Instagram account The Great Woman Artists. She joins Nine To Noon ahead of her May 18th appearance at the Auckland Writers Festival.

Jana Büttner is a figurative sculptor who focuses on sculpting from life from her studios in Salzburg and Florence. Jana was born in Salzburg, Austria in 1997 and has what she describes as three half siblings. Her mother Petra, an art teacher is from Prague and her father Uwe is from Dortmund. She grew up in an artistic and musical family, learning violin and piano, and visiting museums and galleries around Europe. From 2008-2012 Jana studied at he Musisches Gymnasium Salzburg where she was exposed to music, dancing, literature and fine art. After graduating she decided to spend a year in New Zealand which helped her clarify her career goals. When she was 19 she was accepted at the prestigious Florence Academy of Art where she spent three years studying under multiple instructors including the founder of the sculpting program Robert Boden. Jana has won numerous awards and shown in exhibitions and permanent collections around Europe and the US, including “Face 2021,“ Society of Portrait Sculptors, La Galleria Pall Mall London, the Espaco Exhibitionista Gallery, Lisbon Portugal, and the Figurativas in Barcelona. She says her goal is it to provoke emotions and encourage empathy in the viewer. The viewer should be engaged by the work, so they can identify themselves within it.Jana's website: https://www.janabuettner.com/Instagram @janabuettner.art Jana's favorite women artists:Colleen Barry Hannah SuttonMirjam JahnHannah BrictsonKäthe Kollwitz (d) Camille Claudel (d) Playlist Cerca De Ti - Hermanos GutiérrezMariella - Khruangbin, Leon BridgesJungle - Jimi HendrixShine On You Crazy Diamond, Pts 1-5 - Pink FloydHost: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/show/wisp/support.

Jana Büttner is a figurative sculptor who focuses on sculpting from life from her studios in Salzburg and Florence. Jana was born in Salzburg, Austria in 1997 and has what she describes as three half siblings. Her mother Petra, an art teacher is from Prague and her father Uwe is from Dortmund. She grew up in an artistic and musical family, learning violin and piano, and visiting museums and galleries around Europe. From 2008-2012 Jana studied at he Musisches Gymnasium Salzburg where she was exposed to music, dancing, literature and fine art. After graduating she decided to spend a year in New Zealand which helped her clarify her career goals. When she was 19 she was accepted at the prestigious Florence Academy of Art where she spent three years studying under multiple instructors including the founder of the sculpting program Robert Boden. Jana has won numerous awards and shown in exhibitions and permanent collections around Europe and the US, including “Face 2021,“ Society of Portrait Sculptors, La Galleria Pall Mall London, the Espaco Exhibitionista Gallery, Lisbon Portugal, and the Figurativas in Barcelona. She says her goal is it to provoke emotions and encourage empathy in the viewer. The viewer should be engaged by the work, so they can identify themselves within it.Jana's website: https://www.janabuettner.com/Instagram @janabuettner.art Jana's favorite women artists:Colleen Barry Hannah SuttonMirjam JahnHannah BrictsonKäthe Kollwitz (d) Camille Claudel (d) Playlist Cerca De Ti - Hermanos GutiérrezMariella - Khruangbin, Leon BridgesJungle - Jimi HendrixShine On You Crazy Diamond, Pts 1-5 - Pink FloydHost: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.com

In the first episode of 2024 we look ahead to the next 12 months. The Art Newspaper's acting art market editor Tim Schneider peers into his crystal ball to tell us what we might expect from the coming 12 months in the art market. Then, Jane Morris, editor-at-large, Gareth Harris, chief contributing editor, and host Ben Luke select the biennials and exhibitions they are most looking forward to in 2024.Events discussed:60th Venice Biennale: Foreigners Everywhere, 20 April-24 November; Pierre Huyghe, Punta Della Dogana, Venice, 17 March-24 November; Julie Mehretu, Palazzo Grassi, Venice, 17 March-6 January; Willem de Kooning, Gallerie dell'Accademia, Venice, 16 April–15 September; Jean Cocteau, Peggy Guggenheim Collection, Venice, 13 April-16 September; Whitney Biennial: Whitney Museum of American Art, opens 20 March; PST Art: Art & Science Collide, 14 September-16 February; Istanbul Biennial, 14 September-17 November; Diriyah Contemporary Art Biennale 2024, Saudi Arabia, 20 February-24 May; Desert X 2024 AlUla, Saudi Arabia, 9 February-30 April; Frick Collection, New York, reopening late 2024; Grand Egyptian Museum, Giza, Egypt, dates tbc; IMAGINE!: 100 Years of International Surrealism, The Royal Museums of Fine Arts of Belgium, 21 February-21 July; Centre Pompidou, Paris, 4 September-6 January (travels to Hamburger Kunsthalle, Germany, Fundación Mapfré, Madrid, Philadelphia Museum of Art, US); Paris 1874: Inventing impressionism, Musée d'Orsay, 26 March-14 July; National Gallery of Art, Washington DC, 8 September-19 January; Van Gogh, National Gallery, London, 14 September-19 January; Matthew Wong, Vincent van Gogh, Van Gogh Museum, Amsterdam, 1 March-1 September; Caspar David Friedrich, Kunsthalle, Hamburg, Germany, until 1 April; Caspar David Friedrich, Alte Nationalgalerie, Berlin, 19 April-4 August; Caspar David Friedrich, Albertinum and Kupferstich-Kabinett, Dresden, Germany, 24 August-5 January; Arte Povera, Bourse de Commerce, Paris, 9 October-24 March; Brancusi, Centre Pompidou, Paris, 27 March-1 July; Comics, Centre Pompidou, Paris, 29 May-4 November; Yoko Ono, Tate Modern, London, 15 February-1 September 2024; Angelica Kauffman, Royal Academy, London, 1 March-30 June; Women Artists in Britain, Tate Britain, London, 16 May-13 October; Judy Chicago, Serpentine North, London, 22 May-1 September; Vanessa Bell, Courtauld Gallery, London, 25 May-6 October; Woven Histories: Textiles and Modern Abstraction, Los Angeles County Museum of Art, US, until 21 January; National Gallery of Art, Washington DC, 17 March-28 July; National Gallery of Canada, Ottawa, 25 October-2 March; The Museum of Modern Art, New York, dates tbc; Unravel: The Power and Politics of Textiles in Art, Barbican, London, 13 February-26 May 2024, Stedelijk Museum, Amsterdam, 14 September-5 January; The Harlem Renaissance, Metropolitan Museum of Art, New York, 25 February-28 July; Siena: the Rise of Painting, 1300-50, Metropolitan Museum, 13 October-26 January; Museum of Modern Art, New York, shows: Joan Jonas, 17 March-6 July, LaToya Ruby Frazier, 12 May-7 September, Käthe Kollwitz, 31 March-20 July; Kollwitz, Städel Museum, Frankfurt, Germany, 20 March-9 June; Käthe Kollwitz, SMK-National Gallery of Denmark, Copenhagen, 7 November-25 February; The Anxious Eye: German Expressionism and Its Legacy, National Gallery of Art, Washington DC, 11 February-27 May; Expressionists, Tate Modern, London, 25 April-20 October; Gabriele Münter: the Great Expressionist Woman Painter, Thyssen Bornemisza, Madrid, 12 November-9 February Hosted on Acast. See acast.com/privacy for more information.

Det kan gå så ofantligt fort. Ann-Sofi Ljung Svensson berättar om attacken på litteraturen och författarna i Tyskland i februari 1933. Och om vad som följde i dess ställe. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ursprungligen sänd 2022-08-22.Tisdagen den 14 februari 1933, två veckor efter det nationalsocialistiska maktövertagandet i Tyskland, får landets mest inflytelserika teaterkritiker, Alfred Kerr, ett oväntat telefonsamtal. Den 65-årige Kerr har 39 graders feber och har inte lämnat villan i Berlinförorten Grünewald på över en vecka. En våg av svår influensa har drabbat Europa, och i Tyskland räknar man nyinsjuknade dag för dag.Samtalet kommer från en välvillig polisman som varnar Kerr för att hans pass kommer att spärras nästkommande dag. Kerr reagerar instinktivt. Efter tre och en halv timme befinner han sig i Prag.En vecka senare flyr författaren Heinrich Mann. I ett par år har han varit president i den två hundra år gamla preussiska akademins mer moderna litteratursektion – ett barn av Weimarrepubliken. Senaste tiden har varit turbulent. Under lång tid har Mann trotsat den framväxande nationalsocialismen. Nu har han tvingats avgå. Mest graverande för de nya makthavarnas alltmer likriktade lakejer är nu att Mann – tillsammans med konstnären Käthe Kollwitz – precis skrivit på en ”brådskande appell” mot nationalsocialisterna och för socialdemokrater och kommunister. Man ser den klistrad på reklampelare över hela Berlin inför Hitlers utlysta nyval till riksdagen den 5 mars.Två dagar innan han lämnar landet deltar Mann vid en soirée hemma hos chefredaktören för en av Weimartidens mest betydelsefulla liberala dagstidningar, Vossische Zeitung. Det talas om de snabba förändringarna, och oron sprider sig under kvällen. Efter nyvalet kommer huvuden att rulla, sägs det.Beslutet är fattat, resväskan står packad i våningen på Fasanenstrasse. Heinrich Mann är välbeställd efter framgångarna med romanen Professor Unrat som filmatiserats med Marlene Dietrich som Den blå ängeln.Han är van att resa. Men nu krävs en undanmanöver.Med enbart ett paraply i handen lämnar han morgonen därpå lägenheten för att ta tåget till Frankfurt. Fästmön Nelly Kröger har redan varit på stationen och placerat resväskan på tågets hatthylla. Efter flera förvillande tågbyten anländer Mann till franska gränsen och promenerar med sitt handbagage in genom stadsportarna till Strasbourg. Han beräknar vara borta några månader, inte mer. Sen borde det vara över.Så snabbt det gick. Så förvånande, så förödande snabbt. På bara fyra veckor kunde nationalsocialisterna med lagar, förordningar och våld montera ner Weimarrepublikens demokratiska institutioner, och få en stor del av Tysklands mest framstående kulturpersonligheter att fly landet.I den tyske litteraturkritikern Uwe Wittstocks bästsäljande bok Februar 1933. Der Winter der Literatur från 2021 kan man följa hur det gick till när snaran drogs åt kring de författare som inte längre var önskvärda.Manegen var krattad. Alfred Rosenberg och Joseph Goebbels hade satt nationalsocialismens kulturpolitik i verket redan i slutet av 1920-talet: Rosenberg med sitt Kampförbund för tysk kultur, och Goebbels som ledare för NSDAP:s Rikspropagandaministerium. Ingen kulturarbetare kan ha varit helt oförberedd.Men det som först smyger sig på växer och blir snart ett faktum. Plötsligt är det för sent.Det är som med den långsamt annalkande vinter. Man ser att färgerna förändras, känner den lätta krispiga kylan, men njuter ännu av den svaga höstsolen. Så vaknar man en morgon och ryser. Termometern står på noll. Det ligger en hinna av frost över allt. Nu är den här. Så plötsligt den kom.För sent var det definitivt den 28 februari, dagen efter den ödesdigra riksdagshusbranden i Berlin. Hitlers kabinett sammanträder på förmiddagen och presenterar därefter de två förordningar som kom att lägga sig som en förkvävande brandfilt över alla Weimarrepublikens rättigheter: yttrandefriheten, pressfriheten, föreningsfriheten, församlingsfriheten. Post kunde öppnas, telefoner avlyssnas och privata bostäder var inte längre skyddade för intrång. Med ett Alexanderhugg var rättsstaten avskaffad, och 1920-talets tyska avantgardistiska kulturmiljö gick i graven.Många flyr samma dag: Bertolt Brecht går redan på morgonen ombord på ett tåg till Prag. Alfred Döblin, författaren till storstadsromanen Berlin Alexanderplatz, lyckas skaka av sig en SS-man som vakar utanför bostaden, och beger sig sent på kvällen mot Paris.Men andra hann inte.När journalisten och pacifisten Carl von Ossietzky får meddelandet om branden på kvällen den 27 februari har han redan fått flera uppmaningar om att ge sig av. Han har tidigare suttit fängslad för landsförräderi efter att ha avslöjat att Tyskland trots Versaillesfördragets förbud ¬rustat upp sitt flygvapen.Han vägrar åka. Han har för mycket att stå i och dessutom vill han lägga sin röst i valet den 5 mars. Och han har ju ingen namnskylt på dörren, så hur skulle polisen kunna hitta honom?Men morgonen efter branden går det som en våg genom Berlin. De nya förordningarna har ännu inte trätt i kraft, ja, de finns ju egentligen inte. Men diktaturen står och stampar i farstun och vill in. Polisen knackar på långt före gryningen.Halv fyra på morgonen står de utanför dörren hos Ossietzky. Han kommer aldrig mer att återvända.Det är historiens ständiga ironi. Vi vet, de visste inte. Vi lägger vårt tidsavstånd och dess verkningshistoria som ett raster över allt som hänt och läser människors livsberättelser med facit i hand.Men just innan det sker vet vi inte att det ska ske. När det väl händer, händer det plötsligt, och vi förvånas över att det sker och över att vi inte förstod att det skulle komma att ske.I februari 1933 var Tysklands författare omedvetna om det kommande bokbålet på Opernplatz i Berlin den 10 maj, om inrättandet av Rikskulturkammaren i september, och om dess underavdelning Rikslitteraturkammaren året efter. Den månghövdade kulturfamiljen Mann – Thomas, Heinrich, Klaus och Erika – var heller inte medvetna om att en av familjens tidigare vänner, författaren Hanns Johst, två år senare skulle bli den tyska litteraturens ständige övervakare i egenskap av president både för litteratursektionen inom den preussiska akademin och för Rikslitteraturkammaren. Men senare under våren 33 visade Johst tydligt var han stod i en pjäs som uruppfördes på Hitlers födelsedag den 20 april.”När jag hör ordet kultur osäkrar jag min Browning.”Det var precis vad den nya regimen just hade gjort.Den idag kanoniserade tyska litteraturen blev inom landets gränser skjuten i sank. Om det som uppstod istället har Christian Adam berättat i den uppmärksammade Lesen unter Hitler från 2010. Ideologiskt likriktad propagandalitteratur, men framförallt – en flod av lättsam underhållning blir det som tar över på den tillrättalagda bokmarknaden. Nu startar bland annat den tyska deckarboomen.Kultur har alltid varit ett vapen. Bröd och skådespel har använts för att stilla massorna. Populärlitteraturen kom i Tyskland att fungera som en tät och behaglig dimridå som för en tillräckligt stor del av medborgarna kunde dölja den krutrök som i rasande takt spred sig över Europa.Ann-Sofi Ljung Svensson, litteraturforskareLitteraturUwe Wittstock: Februar 33 – Der winter der literatur. Beck C. H. 2021.*Sedan essän spelades in har boken utkommit på svenska på Nirstedt/Litteratur i översättning av Jens Christian Brandt.

Vor 100 Jahren zeichnete die Künstlerin Käthe Kollwitz hungrige Kinder mit leeren Essnäpfen. Das Plakat, mit dem die Arbeiterhilfe 1923 Geld für ihre Suppenküchen sammelte, wurde zum Symbolbild der Hyperinflation.Hoffritz, Juttawww.deutschlandfunk.de, KalenderblattDirekter Link zur Audiodatei

Platemark hosts Ann Shafer and Tru Ludwig offer up a bonus HoP episode featuring a conversation about a single work of art. Occasionally we will drop a BONUS EP ONE PRINT, which will take a single work and pull it apart with an eye toward exploring subject matter, technique, style, and composition. The first of these episodes features the etching Battlefield, 1907, by Käthe Kollwitz.   We hope this new kind of conversation resonates, and we'd love to hear your feedback and suggestions for other great prints worthy of a 90-minute episode.   Fun fact: Käthe is pronounced KAY-tuh, not Cathy; in Kollwitz, the W sounds like a V.   Episode image: Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne.   Pierre-August Renoir. (French, 1841–1919). Luncheon of the Boating Party, 1881. Oil on canvas, The Phillips Collection, Washington, D.C. John Constable (English, 1776–1837). The Hay Wain, 1821. Oil on canvas. 130.2 × 185.4 cm. National Gallery, London. Wassily Kandinsky (Russian, 1866–1944). Composition IV, 1911. Oil on canvas. 62.8 × 98.6 in. (159.5 × 250.5 cm.). Kunstsammlung Nordrhein-Westfallen, Düsseldorf. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Jackson Pollock (American, 1912–1956). Number 1, 1950 (Lavender Mist), 1050. Oil, enamel, and aluminum on canvas. 221 x 299.7 cm (87 x 118 in.). National Gallery of Art, Washington, DC. Marcel Duchamp (American, born France, 1887–1968). The Bride Stripped Bare by Her Bachelors, Even (Large Glass), 1915–23. Oil, varnish, lead foil, lead wire, and dust on two glass panels. 9 ‘ 1 ¼” × 70” x 3 3/8” (277.5 × 177.8 × 8.6 cm). Philadelphia Museum of Art, Philadelphia. Rembrandt (Dutch, 1606–1669). Militia Company of District II under the Command of Captain Frans Banninck Cocq, also known as The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch (commonly known as The Night Watch), 1642. Oil on canvas. 437 x 363 cm. City of Amsterdam. Henri Matisse (French, 1869–1954). The Blue Nude (Memory of Biskra), 1907. Oil on canvas. 36 1/4 x 55 1/4 in. (92.1 x 140.3 cm.). Baltimore Museum of Art, Baltimore. Mark Rothko (American, 1903–1970). No. 17, 1957. Oil on canvas. 232.5 x 176.5 cm. (91.5 x 69.5 in.). Christies. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAILS] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). The Ploughmen, no. 1 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 31.5 x 45.7 cm (12 3/8 x 18 in.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Raped, no. 2 from the series Peasants War, 1907–08. Etching, drypoint, sandpaper and softground etching. Plate: 308 x 529 mm. (12 1/8 x 20 13/16 in.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Sharpening the Scythe, no. 3 from the series Peasants War, 1908. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 11 3/4 × 11 11/16 inches (29.8 × 29.7 cm). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Arming the Vault, no. 4 from the series Peasants War, 1906. Etching, drypoint, aquatint, and softground etching. Plate: 19 1/2 x 12 7/8 in. Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Charge, no. 5 from the series Peasants War, 1902–03. Etching, drypoint, and softground etching. Plate: (49.2 x 57.5 cm.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). The Prisoners, no. 7 from the series Peasants War, 1908. Etching, drypoint, sandpaper and softground etching. Plate: 328 x 426 mm. (12 15/16 x 16 3/4 in.). Käthe Kollwitz Museum, Cologne. Jean-François Millet (French, 1814–1875) The Gleaners, 1957. Oil on canvas. 83.8 × 111.8 cm. (33 × 44 in.). Musée d'Orsay, Paris. Jean-François Millet (French, 1814–1875). The Gleaners, 1955. Etching. 192 x 253 mm. Rijksmuseum, Amsterdam. Käthe Kollwitz (German, 1867–1945). Self-Portrait, 1926–36. Bronze. Käthe Kollwitz Museum, Cologne. Georges Seurat (French, 1859–1891). Landscape, 1876–86. Black Conté crayon. 24.9 × 31.6 cm (9 13/16 × 12 1/2 in.). Art Institute of Chicago, Chicago. Ernst Barlach (German, 1870–1938). The Avenger, 1914. Bronze. 22.9 x 44.5 x 61 cm. Harvard Art Museums, Cambridge. Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. [DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. [DETAIL] Jacques Muron (French, born 1950). Egret, 1996. Engraving on chine collé. Plate: 14 ½ x 3 ¾ in. Mary Cassatt (American, 1844–1926). The Banjo Lesson, c. 1893. Color drypoint and aquatint with monoprint inking. Plate: 29.85 × 23.81 cm (11 3/4 × 9 3/8 in.); sheet: 41.9 x 29.2 cm (16 1/2 x 11 1/2 in.). National Gallery of Art, Washington, DC. Andrea Mantegna (Italian, c. 1431–1506). Lamentation over the Dead Christ, c. 1483. Tempera on canvas. 680 x 810 mm. Pinacoteca di Brera, Italy. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Baltimore Museum of Art, Baltimore. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam.

In s3e39, Platemark host Ann Shafer speaks with Sue Coe, an artist and social activist. The pair were joined in the conversation by Tru Ludwig (Sue is one of Tru's art heroes) at Sue's home in the Catskill Mountains, New York.   Sue creates art that goes right to the heart of an issue, whether it be animal cruelty, capitalism, authoritarianism, women's rights or any other progressive ideal. Images are sometimes difficult, (TRIGGER WARNING) and the conversation touched on some topics that may be distressing for listeners. Please know the discussion ranges from slaughterhouses and mass killings of animals to sexual violence against women, along with a number of other tough topics. There are also plenty of expletives coming from all corners. Consider this fair warning.   Sue, Ann, and Tru talked about veganism, the environment, Käthe Kollwitz, Galerie St. Etienne and famed dealer Hildegard Bachert, placing work at an institution (Sue calls Ann “you poor, sad creature”), and starting a museum just for printmaking. It's quite a conversation. Sue Coe on her deck, our temporary recording studio, Deposit, NY. Sue Coe (English, born 1951). Auschwitz Begins…, 2009. Woodcut. Sheet: 15 ½ x 52 in. (39.4 x 132.1 cm.). Galerie St. Etienne. Sue Coe (English, born 1951). Depopulation, 2020. Linoleum cut. Sheet: 10 3/8 x 8. ½ in. (26.4 x 21.6 cm.). Galerie St. Etienne. Shiko Munakata (Japanese, 1903–1975). The Visit, 1959. Woodcut. Sheet: 130 1/16 x 15 in. (33.2 x 38.1 cm.) Museum of Modern Art, New York. James Gilray (British, 1756–1815). Edward Jenner vaccinating patients in the Smallpox and Innoculkation Hospital of St. Pancras; the patients develop features of cows, 1802. Etching with watercolor. Wellcome Collection, London.   Sue Coe (English, born 1951) and Eric Avery (American, born 1949). Zoonotic Spillover, 2023. Linoleum cut with hand coloring. Sheet: 30 x 36 ¾ in. (76.2 x 93.3 cm.). Published by Tarantula Press, Texas A&M University. Sue Coe's carving station. Sue Coe in her studio. Sue Coe pulls open the flat files. Sue Coe (English, born 1951). Fighting the New Jim Crow, 2021. Woodcut. Sue Coe (English, born 1951). Woman Walks into Bar–Is Raped by Four Men on the Pool Table–While 20 Watch, 1983. Mixed media. 7' 7 5/8" x 9' 5 1/4" (232.7 x 287.7 cm.). Museum of Modern Art, New York. Otto Dix (German, 1891–1969). Shock Troops Advance under Gas (Sturmtruppe geht unter Gas vor) from The War (Der Krieg), 1924. Etching, aquatint, and drypoint, from a portfolio of fifty prints. Plate: 7 5/8 x 11 5/16 in. (19.3 x 28.8 cm.); sheet: 13 11/16 x 18 5/8 in. (34.8 x 47.3 cm.). Museum of Modern Art, New York. Sue Coe (English, born 1951). Bush Aids, 1990. Photoetching. Sheet: 15 x 10 7/8 in. (38.1 x 27.6 cm.). Pennsylvania Academy of Fine Arts, Philadelphia. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants' War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Sue Coe (English, born 1951). Woman Tied to Pole, 1984. Photoetching. 13 1/4 x 9 1/4 in. (33.6 x 23.5 cm.). Installation shot from Sue Coe: Graphic Resistance. MoMA PS1, June 3–September 9, 2018. Ann Shafer and Sue Coe, June 3, 2023.

In this bonus episode, Platemark host Ann Shafer coaxed co-host Tru Ludwig into talking about being an artist and art historian, and how being a professor in both disciplines plays out. It's a fascinating confluence of ideas and passions in one person.  Fun fact: Käthe Kollwitz is Tru's patronus. Another fun fact, Käthe is pronounced Kay-tuh. Tru's website: thepurplecrayonpress.com.  

Katie and Sally are joined by Sammy Harkham (Crickets, Kramers Ergot) to discuss his new book Blood of the Virgin (Pantheon, 2023). Topics discussed include showing vs. telling, filmmaking, cooking in comics, Milton Caniff, Käthe Kollwitz, and lots more.   Follow Sammy at @samharkham on Instagram.   Back VISCERE #1: Body Horror on Kickstarter: https://www.kickstarter.com/projects/katieskelly/viscere-1-a-body-horror-comics-anthology   Catch Katie at Permanent Damage Comics Show on Sunday, May 21: https://www.instagram.com/permanent_damage_comix_show/   Support the show and get bonus episodes at patreon.com/thicklinespod, and follow us on Instagram @thicklinespod.

The man who may just be the most prolific Chapman Stick recording artist on the planet joins us in this episode- Michael Kollwitz is in the studio! Mike has insights and stories galore to share, borne of playing for so many years, being one of Emmett's students early on, and living and recording in a number of different locales. Plus, Michael and Claire spend some time diving into advice regarding the configuration and maintenance of studio computer resources, and we hear about Michael's upcoming book release- “Stick With It- Adventures of a Chapman Stick Player”…judging by some of the stories he shares with us, this book is a “must buy”!

THIS WEEK on the GWA Podcast, we interview Dr Dorothy Price on one of the most acclaimed artists ever to live, the great German Expressionist, KATHE KOLLWITZ! Dorothy Price is an indefatigable pioneer. Not only has she been instrumental as a specialist in German Expressionism, Weimar Culture and Black British Art, with a specific focus on women artists, but she has authored numerous books and articles in both areas. But today we are meeting because her latest exhibition, Making Modernism, opens at the Royal Academy of Arts, London this month, focussing on a group of women artists all of whom were active in Germany in the first few decades of the twentieth century. The exhibition seeks to look again at histories of modernism through the eyes of its female practitioners and is the first group exhibition of women artists at the Royal Academy for over 20 years: https://www.royalacademy.org.uk/exhibition/making-modernism So today we are going to be discussing one of these artists: Kathe Kollwitz, the pioneering German Expressionist who documented, through a socially conscious lens, the working classes and unemployed, and was a master at capturing the emotive intensity of her subjects, their vulnerabilities and hardship. Primarily a printmaker, Kollwitz took psychological intensity to new heights with her often stark portrayals of the grief-stricken and oppressed. Depicting mothers and children wrenched apart by death; individuals filled with anguish and in mourning; poverty, love, hatred and war ‒ Kollwitz's compassionate images reveal the grim rawness of reality observed through a deeply sensitive lens. Socially conscious and created with acute feeling (she once wrote, ‘I agree with my art serving a purpose'), her work still speaks truth to the world we live in today. Born in Eastern Prussia, Kollwitz, having witnessed the physical and emotional effects of industrialisation, used printmaking to record the bleakness and inequalities of life. Immediate, accessible and at times cheap, printmaking enables an artist to produce both intricately detailed images and bold graphic forms. Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Research assistant: Viva Ruggi Sound editing by Nada Smiljanic Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ -- Making Modernism:Paula Modersohn-Becker, Käthe Kollwitz, Gabriele Münter and Marianne Werefkin at the RA: https://www.royalacademy.org.uk/exhibition/making-modernism https://www.kollwitz.de/en/biography https://www.kaethe-kollwitz.berlin/en/kaethe-kollwitz/biography/ https://www.britishmuseum.org/collection/term/BIOG34072 Print cycle: A Weaver's Revolt (1892-97): https://www.kollwitz.de/en/cycle-weavers-revolt-overview -- Head of a Child in its Mother's Hands (Study of the Down Trodden) (1900): https://www.germanexpressionismleicester.org/leicesters-collection/artists-and-artworks/kaethe-kollwitz/head-of-a-child-in-its-mothers-hands-(study-of-the-down-trodden)/ https://www.kollwitz.de/en/cycle-peasants-war-overview https://www.kollwitz.de/en/woman-with-dead-child-kn-81 https://www.kollwitz.de/en/pair-of-lovers-sculpture-en-bronze Print cycle: War (completed 1921-1922) https://www.kollwitz.de/en/series-war-overview -- THIS EPISODE IS GENEROUSLY SUPPORTED BY CHRISTIES: www.christies.com

This week: as the UN's climate emergency summit, Cop27, continues in Egypt, Ben Luke talks to Louisa Buck, The Art Newspaper's contemporary art correspondent—and the author of our online column about art and climate change—about international art initiatives responding to the crisis. Kaywin Feldman, the director of the National Gallery of Art (NGA) in Washington, DC, tells us about the museum's new $10m endowment fund for purchases of works by women artists. The historic gift, from the family of the gallery's first female president, Victoria P. Sant, will help the NGA fill gaps in its collection. And this episode's Work of the Week is Mother with Child on her Arm, Nude II (1906) by the German painter Paula Modersohn-Becker. The work is a highlight of Making Modernism, a show of German women artists that opens this weekend at the Royal Academy in London. The exhibition's curator, Dorothy Price, discusses this late painting in Modersohn-Becker's short but productive life.Making Modernism: Paula Modersohn-Becker, Käthe Kollwitz, Gabriele Münter and Marianne Werefkin, Royal Academy of Arts, London, 12 November-12 February 2023. Hosted on Acast. See acast.com/privacy for more information.

There's so much more to art in Berlin than the Top 3 Galleries from our last episode. So here's a look at an artist who has a museum dedicated to her (Käthe Kollwitz), a 20th century art movement with strong links to Berlin (Bauhaus) and the best of the rest: where to find specialist galleries, modern art and street art in Berlin. Useful links   Käthe Kollwitz Museum                                                                                                  Selection of work by Käthe Kollwitz    Bauhaus Archive Museum    Selection of Bauhaus work to view online  More galleries Akademie der Künste  Asian Art gallery in the Humboldt Forum  The Brücke Museum in Dahlem      The Georg Kolbe Museum     Modern Art The Hamburger Bahnhof   KINDL, the Centre for Contemporary Art    The KW Institute for Contemporary Art    Berlinische Galerie    Street Art Visit Berlin information on street art  11 ideas for street art tours in Berlin    Berlin Tourist Information Offices Inspiring Germany Tourist Information City Breaks: all the history and culture you'd research for yourself if you had the time! Check our website to find more episodes from our Berlin series or to browse our back catalogue of other cities which are well worth visiting: https://www.citybreakspodcast.co.uk We love to receive your comments and suggestions!  You can e mail us at citybreaks@citybreakspodcast.co.uk And if you like what you hear, please do post comments or a review wherever you downloaded this episode.  That would be very much appreciated!   

Das Berliner Käthe-Kollwitz-Museum ist nach 36 Jahren umgezogen – in den Theaterbau am Schloss Charlottenburg. In größeren und moderneren Räumen sollen bisher kaum bekannte Aspekte ihres künstlerischen Schaffens beleuchtet werden.Von Jürgen Königwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

König, Jürgenwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Das Werk von Käthe Kollwitz scheint aktueller denn je – jetzt, wo der Krieg zurück ist in Europa. Kollwitz erlebt zwei Weltkriege mit, sie verliert ihren Sohn, der an der Front fällt. Viele ihrer Arbeiten thematisieren Schmerz, Tod und Verlust.

Das Werk von Käthe Kollwitz scheint aktueller denn je - jetzt, wo der Krieg zurück ist in Europa. In Kaliningrad geboren - damals Königsberg -, erlebt Kollwitz zwei Weltkriege mit, sie verliert ihren Sohn, der an der Front fällt. Viele ihrer Radierungen, Plastiken und bildhauerischen Arbeiten thematisieren Schmerz, Tod und Verlust. Autorin: Andrea Klasen Von Andrea Klasen.

This episode is also available as a blog post: https://thecitylife.org/2022/04/21/the-museum-of-modern-art-and-neue-galerie-new-york-acquire-rare-color-self-portrait-lithograph-by-german-artist-kathe-kollwitz/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Koldehoff, Stefanwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

The Seed Cast is pleased to welcome animator and artist Andrew Benincasa to the show. Currently based in Brooklyn, NY, Andrew has been featured on NPR's First Look, On the Media, HarvardX, and Alain de Botton's School of Life. He has also attended residencies at Yaddo, St. Anne's Warehouse, the Orchard Project, TAC, and Holes in the Wall Collective. In this episode we tackle a lot of topics concerning fantasy, mythology, allegory, and individual interpretations of such. Andrew shares how a need to communicate sparked his art, how he believes the world is ready for new stories and myths to take place of historical and religious authorities, and how the element of time and the live artist not only emphasize the importance of story, but the drive to tell it. You can check out his work at http://www.andrewbenincasa.com/ and follow him on instagram @andrewbenincasa. Andrew's artist picks: Käthe Kollwitz, Leo and Diane Dillon, and Ursula Le Guin.

In this season of ShortCuts we've spent some time in a 1969 recording of poet Muriel Rukeyser, and we're going to stay in that recording for this minisode, partly due to the depth of material within this single recording and partly as an opportunity to reflect upon what a minisode can do – through archival listening – to make connections. A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Stacey CopelandAUDIO SOURCEAudio clips for this ShortCuts minisode are cut from this recording of Muriel Rukeyser's reading in Montreal on January 24, 1969.RESOURCESKeenaghan, Eric. “Interchange – How to Be Anti-Fascist: Muriel Rukeyser and The Life of Poetry.” Interchange, https://beta.prx.org/stories/355960.Malcolm, Jane. “The Poem Among Us, Between Us, There: Muriel Rukeyser's Meta-Poetics and the Communal Soundscape.” Amodern 4: The Poetry Series (March 2015), http://amodern.net/article/poem-among-us/Muriel Rukeyser: A Living Archive, http://murielrukeyser.emuenglish.org/. Rukeyser, Muriel. “Elegy in Joy.” Waterlily Fire: Poems, 1935-1962. Macmillan, 1963.---. “Käthe Kollwitz.” The Collected Poems of Muriel Rukeyser. U of Pittsburgh P, 2006. ---. The Life of Poetry. Current Books, 1949.---. “Muriel Rukeyser at SGWU, 1969” [audio recording from the Sir George Williams Poetry Series]. SpokenWeb, 24 January 1969, https://montreal.spokenweb.ca/sgw-poetry-readings/muriel-rukeyser-at-sgwu-1969Music and Sound Effectsbay_area_bob. "Sound FX for a notification." Freesound.org, Nov 2020.original music by Jason Camlot, 2019.scissors audio (original by K. McLeod), 2020. 

Philip Dodd and Joanna Kavenna discuss the challenges of art in an age of irony as the work of Käthe Kollwitz goes on display in Birmingham at the Ikon Gallery. Lawrence Norfolk pays tribute to the work of the great American poet, John Ashbery, who died last week. Plus a discussion of social conservatism in the USA, Europe and the UK with Sophie Gaston from the think tank, Demos and the political commentators, Tim Stanley and Charlie Wolf. Kollwitz was born in Königsberg in East Prussia in 1867 and the show gathers together 40 of her drawings and prints under the themes of social and political protest, self-portraits and images she made in response to the death of her son Peter in October 1914. Portrait of the Artist: Käthe Kollwitz A British Museum and Ikon Partnership Exhibition runs from 13 September 26 November 2017 with a fully illustrated catalogue.John Ashbery (July 28, 1927 – September 3, 2017) is the author of collections including Self-Portrait in a Convex Mirror which won him a Pulitzer Prize in 1976 Image: Käthe Kollwitz (1867-1945) Self Portrait, (1924) Woodcut Copyright: The Trustees of the British MuseumProducer: Zahid Warley