id:			146792
accession number:	1972.214
share license status:	Copyrighted
url:			https://clevelandart.org/art/1972.214
updated:		2023-03-11 20:50:57.669000

Woman with Folded Arms, 1905. Käthe Kollwitz (German, 1867–1945). Lithograph; The Cleveland Museum of Art, Gift of Harry L. Jackson in memory of Evelyn Minshall Jackson 1972.214

title:				Woman with Folded Arms
title in original language:	
series:				
series in original language:	
creation date:			1905
creation date earliest:		1905
creation date latest:		1905
current location:		
creditline:			Gift of Harry L. Jackson in memory of Evelyn Minshall Jackson
copyright:			

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culture:	Germany, early 20th Century
technique:	lithograph
department:	Prints
collection:	PR - Lithograph
type:		Print
find spot:	
catalogue raisonne: Klipstein 85

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CREATORS

* Käthe Kollwitz (German, 1867–1945)  - artist

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measurements: 
state of the work:	II/II
edition of the work: 	

support materials:


inscriptions:

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CURRENT EXHIBITIONS

	title:		Year in Review: 1972
	opening date:   1973-02-27T05:00:00
	<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).

	title:		Käthe Kollwitz
	opening date:   1980-05-13T04:00:00
	<i>Käthe Kollwitz</i>. The Cleveland Museum of Art, Cleveland, OH (May 13-July 13, 1980).

	title:		Eastward from the Rhine: Romanticism to Abstraction, 1800-1925
	opening date:   1984-06-12T04:00:00
	<i>Eastward from the Rhine: Romanticism to Abstraction, 1800-1925</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 12-September 9, 1984).

	title:		Graphic Discontent: German Expressionism on Paper
	opening date:   2018-01-14T05:00:00
	<i>Graphic Discontent: German Expressionism on Paper</i>. The Cleveland Museum of Art (organizer) (January 14-May 27, 2018).

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LEGACY EXHIBITIONS

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PROVENANCE

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fun fact:


digital description:


wall description:
This lithograph is one of several Käthe Kollwitz made of working-class women while she was living in a poor section of Berlin. She drew the body and face with a crayon on the lithographic stone and covered the background with a waxy, uneven tone that contributes to the isolation and cold conveyed in the woman’s posture. Although Kollwitz did not formally join an Expressionist group, her work strongly reflects their directive to use empathy and emotion for social or political impact. She considered prints, with their reproducibility and relative affordability, as crucial to creating widescale compassion for the struggles and ills of the oppressed.
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RELATED WORKS

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CITATIONS

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IMAGES