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Through the Eyes of Käthe Kollwitz and Otto Dix

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Through the Eyes of Käthe Kollwitz and Otto Dix VISIONS OF WORLD WAR I ThroughThrough thethe EyesEyes ofof KätheKäthe KollwitzKollwitz andand OttoOtto DixDix VISIONS OF WORLD WAR I Through the Eyes of Käthe Kollwitz and Otto Dix Leona C. Sargent Wright State University Master of Humanities Thesis Project December 2012 DISCRETION IS ADVISED: Contains images of a graphic nature. Cover image from http://www.pictureshistory.blogspot.com 2 Table of Contents Introduction 5 Käthe Kollwitz 8 Otto Dix 24 Something to Think About 38 Glossary of Terms 40 Image Credits 42 Bibliography 46 3 Early in the movie The Da Vinci Code, a Harvard University Professor, Robert Langdon, is speaking at a French University. “Symbols are a language. They can help us understand our past. As the saying goes, ‘A picture says a thousand words.’ But which words?” The professor goes on to display several seemingly familiar images. He asks his audience to interpret them. An image of individuals wearing white robes and cone shaped hats represents hatred and the Ku Klux Klan to a contemporary audience, while they are actually images of priests in Spain. A second image of a three-pronged weapon brings to mind Satan and his pitchfork to this audience, but on closer examination, it is Poseidon’s trident. Professor Langdon goes on to say, “Understanding our past determines actively our ability to understand the present. So, how do we sift truth from belief? How do we write our own histories, personally or culturally and thereby define our- selves? How do we penetrate years, centuries of historical distortion to find origi- nal truth? Tonight this will be our quest.” 4 INTRODUCTION The Great War (1914 — 1918) rom 1792 to 1815, France pursued war that involved most of Europe. At the Con- gress of Vienna in 1815, the great powers of Europe established the Concert of Eu- F rope in an effort to avoid large scale wars. The nations that participated in the Con- cert of Europe agreed to meet regularly for this purpose. In 1914, another continental conflict seemed unlikely despite military build-up and imperialistic rivalry. The political sta- bility of the first decade of the twentieth-century was unstable. As early as 1905, the Ger- man military began planning an invasion of Belgium. Germany was determined to subdue France. Alliances existed between France and Russia and similarly between Germany and the Austro-Hungarian Empire. Great Britain was obligated to defend the neutrality it had established in Belgium. In 1912 and 1913 wars were fought over territory in the Bal- kans. Austria-Hungary considered the potential expansion by Balkan nations a threat to its interests. “Vienna had not intervened in either Balkan war. [appearing that] the Bal- kan states had been rewarded rather than penalized for discounting international agree- ments.” On June 28, 1914 the heir to the Austrian throne, Archduke Franz Ferdinand and Sophie, Duchess of Hohenberg, were assassinated in Sarajevo. This was seen as Serbi- an (Balkan) aggression against Austria-Hungary. It was the catalyst that gave Austria- Hungary an excuse to start a defensive war. Germany backed its ally, Austria-Hungary, in this action. What was supposed to be the Third Balkan War evolved into a European war when Russia came to the defense of its ally, the Serbs. These actions unintentionally plunged Europe into a war that eventually engulfed the world. 5 rom the first cave drawings to contemporary, electronically gener- ated images, art serves many purposes. Art reflects culture. It il- F lustrates historical events. Artistic mediums demonstrate financial prosperity, mechanical ability, and technology. Art articulates the very thoughts of man and entire societies. The very act of creating art has the ability to aid in healing after trauma. The historic clues left behind by art- ists are invaluable to scholars, but potentially incomplete, since art is subjective for both the creator and the viewer. rtists create for a variety of rea- “Art practices and ritual are central to the ways in which sons. These purposes include: different societies and A documentation, politics, therapy, cultures cope with times of experimentation, creative extreme upheaval and expression, and many more reasons. transitions.” Kalmanowitz and Lloyd 6 äthe Kollwitz and Otto Dix are two German artists whose work gives us an intimate vision of the loss and devastation caused by World War I. K They were different in many ways. Käthe Kollwitz was a wife and a mother who witnessed and experienced the loss and grief at home. Her hus- band was a physician who treated the proletariat of Berlin. Otto Dix was a year older than Käthe Kollwitz’s son, Hans Kollwitz. Dix volunteered to serve in the German Army at the onset of World War I and served all four years in the trenches. He came from a poor family. hese two artists had some things in common, as well. They both consid- ered themselves realists who chronicled “the way it was.” They both rec- T ognized the healing potential of art. They were both painters and print- makers. Some of their works were controversial. Both Otto Dix and Käthe Koll- witz had artistic success during their lifetimes and their work was known interna- tionally. 7 KÄTHE KOLLWITZ 1867 — 1945 July 8, 1867 Käthe Schmidt born in Königsberg. Her father, Karl Schmidt, an attorney who changed professions and became a master Mason Her mother, Katharina Schmidt, daughter of Julius Rupp who founded the first Protestant Free Religious Congregation in Germany She had three siblings: Konrad (1863 — 1932) Julie (1865 — 1917) Lise (1870 — 1963) 1881 — 1882 First art lessons with engraver Rudolf Mauer in Königsberg 1885 — 1886 Attended the School for Women Artists in Berlin and studied under Karl Stauffer-Bern 1886 Returned to Königsberg, studied under Emile Neide, Became engaged to Karl Kollwtiz, who was a medical student 1888 — 1889 Studied in Munich under Ludwig Herterich June 13, 1891 Married Dr. Karl Kollwitz They moved to Berlin where Karl’s patients were the working poor 1892 Their first son, Hans, was born 1896 Their second son, Peter, was born 1814 Hans and Peter Kollwitz volunteered for military service at the outbreak of World War I October 22, 1914 Peter Kollwitz was killed in Dixmuiden in Belgium 1919 Käthe was the first woman to become a member of the Prussian Academy of Arts where she also became a professor 1928 Käthe became the director of the master studio for graphic arts at the Academy of Arts 8 Käthe Kollwitz forced to resign her position at the Academy of Arts when the National 1933 Socialists gained power in Germany Outbreak of World War II 1939 Karl Kollwitz died 1940 Hans Kollwitz’s son, Peter, died in WWII on the Eastern Front September 1942 Käthe Kollwitz left Berlin because of the fighting 1943 Her home in Berlin was destroyed in the Berlin Blitz November 1943 Käthe Kollwitz died April 22, 1945 Käthe Kollwitz, c. 1872 Karl Kollwitz, c. 1890 Hans and Peter Kollwitz, c. 1904 9 äthe Kollwitz began planning a memorial K for her son, Peter, as early as December 1914. Peter Kollwitz died in World War I shortly after the fighting began. er Diary records her struggles to find the H correct form for her memorial. She hoped others who had suffered loss would be able to identify with this public memorial. She hoped this memorial would provide healing. t took 17 years for Käthe to complete the memorial for Peter. She titled the I Käthe Kollwitz, Mourning Parents (Installed 1932) Granite, Military Cemetery at memorial Mourning Parents. It Dixmuiden in Belgium was placed in the military cem- etery at Dixmuiden in Belgium in 1932. 10 “Conceived the plan for a memorial for Peter tonight, but abandoned it again because it seemed to me impossible of execution. In the morning I suddenly thought of having Reike ask the city to give me a place for the memori- al. There would have to be a collection taken “If I live to see Peter’s for it. It must stand on the heights of Schild- work [the memorial horn, looking out over the Havel. To be fin- sculpture] completed ished and dedicated on a glorious summer and good, commemorating him day. Schoolchildren of the community singing. and his friends in a ‘On the way to pray.’ The monument would beautiful site, then have Peter’s form, lying stretched out, the fa- perhaps Germany is ther at the head, the mother at the feet. It past the worst.” would be to commemorate the sacrifice of all Käthe Kollwitz, June 25, the young volunteers. 1919 It is a wonderful goal, and no one has more right than I to make this memorial.” Käthe Kollwitz, December 1, 1914 11 ermany was plunged into political turmoil after World War I. During G the struggle for power in the de- veloping Weimar Republic, the Spartacist leader, Karl Liebknecht, was assassinat- ed on January 15, 1919. The slain lead- er’s family asked Käthe Kollwitz to make drawings of the corpse in the morgue. On January 25, 1919, the artist recorded what she saw, “the shot-up forehead Käthe Kollwitz, Head of Karl Liebknecht on His Deathbed (1919) decked with red flowers, a proud face Drawing, Private Collection with the mouth slightly open and painfully distorted. I then went back to the house with the drawings and tried to very artist has a process that they make a better, more comprehensive go through during the creation of a drawing.” Käthe Kollwitz desired to cre- E work of art. Käthe Kollwitz internal- ate art that the common person could ized the emotions of those she drew. She identify with. So, in the final version of the attempted to identify with the emotions and work, Kollwitz focused past Leibknecht on then give form to those emotions in her art.
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