{"id":1700,"date":"2019-10-04T19:21:14","date_gmt":"2019-10-04T17:21:14","guid":{"rendered":"https:\/\/unik-artmag.com\/?p=1700"},"modified":"2026-05-17T15:32:43","modified_gmt":"2026-05-17T13:32:43","slug":"ka%cc%88the-kollwitz-figure-du-renouveau-de-la-gravure-allemande-au-xixe-siecle","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/ka%cc%88the-kollwitz-figure-du-renouveau-de-la-gravure-allemande-au-xixe-siecle\/","title":{"rendered":"Ka\u0308the Kollwitz, premi\u00e8re femme \u00e0 entrer aux Beaux-Arts de Berlin en 1919"},"content":{"rendered":"\r\n

L’exposition \u00ab Je veux agir dans ce temps \u00bb est une grande r\u00e9trospective consacr\u00e9e \u00e0 l’artiste allemande K\u00e4the Kollwitz (1867-1945). Organis\u00e9e par le Mus\u00e9e d\u2019Art Moderne et Contemporain de Strasbourg en partenariat avec le Kollwitz Museum de Cologne, elle rassemble 170 \u0153uvres majeures, principalement des lithographies et des eaux-fortes. Cet \u00e9v\u00e9nement s’est d\u00e9roul\u00e9 du 4 octobre 2019 au 12 janvier 2020.<\/strong><\/p>\r\n\r\n\r\n\r\n

Une artiste engag\u00e9e au c\u0153ur de l’art allemand<\/h3>\r\n

Aux c\u00f4t\u00e9s de grands personnages comme Max Klinger, K\u00e4the Kollwitz jouit d\u2019une reconnaissance internationale pour ses nombreux travaux. Le mus\u00e9e alsacien accueille ainsi une collection exceptionnelle qui r\u00e9v\u00e8le l’engagement total de la plasticienne. Activiste assum\u00e9e, Kollwitz choisit de produire des gravures originales pour repr\u00e9senter des sujets sombres. Ses images explorent les r\u00e9voltes, la r\u00e9volution, la mort, la condition sociale des ouvriers et le rapport fusionnel entre la m\u00e8re et son enfant. Le portfolio intitul\u00e9 Une R\u00e9volte des Tisserands<\/i>, qu\u2019elle cr\u00e9e entre 1893 et 1898, figure comme l\u2019\u0153uvre la plus c\u00e9l\u00e8bre de sa carri\u00e8re.<\/p>\r\n

Les origines d’une vocation pour l’eau-forte<\/h3>\r\n

D\u00e8s son enfance, K\u00e4the montre un talent certain pour le dessin. Son p\u00e8re la pousse rapidement \u00e0 apprendre la gravure aupr\u00e8s de l\u2019artiste Rudolf Mauer. Elle int\u00e8gre ensuite en 1886 l\u2019atelier de Karl Stauffer-Bern. C’est dans ce lieu qu’elle adopte la technique de l\u2019eau-forte et choisit le cuivre comme matrice de pr\u00e9dilection.<\/p>\r\n

Durant son apprentissage, elle se marie avec Karl Kollwitz, un m\u00e9decin g\u00e9n\u00e9raliste. Ce dernier est un fervent d\u00e9fenseur de l\u2019id\u00e9ologie socialiste, tout comme son \u00e9pouse. Le m\u00e9decin installe son cabinet dans un quartier pauvre de Berlin. Dans cet environnement, la jeune femme peut observer directement les conditions de vie difficiles du prol\u00e9tariat allemand.<\/p>\r\n

Apr\u00e8s sa formation, Kollwitz d\u00e9couvre l\u2019\u0153uvre symboliste du graveur Max Klinger, ainsi que son trait\u00e9 sur l\u2019usage de la gravure intitul\u00e9 Malerei und Zeichnung<\/i>. Klinger promeut la capacit\u00e9 technique de la gravure \u00e0 repr\u00e9senter la mis\u00e8re et la part sombre de la vie.<\/p>\r\n

La puissance narrative de l’estampe et du naturalisme<\/h3>\r\n

La gravure a la possibilit\u00e9 d\u2019\u00eatre expos\u00e9e en portfolio. Elle poss\u00e8de donc une capacit\u00e9 de narration beaucoup plus efficace que les autres formes d\u2019art plastique. Kollwitz suit ce raisonnement et d\u00e9cide de se consacrer uniquement \u00e0 l\u2019art de l\u2019estampe. Elle souhaite d\u00e9noncer les conditions de vie du prol\u00e9tariat allemand dans un souci de naturalisme engag\u00e9.<\/p>\r\n

Cette d\u00e9marche artistique s’inspire directement des \u0153uvres litt\u00e9raires d’\u00c9mile Zola. Selon sa vision, des moments v\u00e9h\u00e9ments de l\u2019existence se r\u00e9v\u00e8lent souvent au graveur de mani\u00e8re criarde. De ces instants doivent na\u00eetre les images, comme elles d\u00e9coulent de la sensation vivante du po\u00e8te et du musicien.<\/p>\r\n

Le chef-d’\u0153uvre inspir\u00e9 de la r\u00e9volte des tisserands<\/h3>\r\n

K\u00e4the Kollwitz illustre cette pens\u00e9e profonde dans son premier portfolio r\u00e9alis\u00e9 entre 1893 et 1898. Ce r\u00e9cit visuel en six sc\u00e8nes s\u2019inspire directement de la pi\u00e8ce Die Weber<\/i> de Gerhard Hauptmann. Cette pi\u00e8ce th\u00e9\u00e2trale fut cr\u00e9\u00e9e \u00e0 la Freie Berliner Volksb\u00fchne le 23 f\u00e9vrier 1893. Elle prenait pour th\u00e8me principal la r\u00e9volte des tisserands survenue le 4 juin 1844.<\/p>\r\n

Cet \u00e9v\u00e9nement historique est certes lointain en 1893, mais il n\u2019a pas perdu de son ampleur au cours de la deuxi\u00e8me moiti\u00e9 du XIXe si\u00e8cle. En fait, les tensions politiques n\u2019ont fait qu\u2019augmenter avec le gouvernement autoritaire et militariste d’Otto von Bismarck. Le r\u00e8gne de ce \u00ab Chancelier de fer \u00bb s\u2019\u00e9tendit de 1862 \u00e0 1888.<\/p>\r\n

La pi\u00e8ce de Hauptmann fait d\u2019ailleurs l\u2019objet d\u2019une multitude de proc\u00e9dures judiciaires. Les autorit\u00e9s cherchent \u00e0 limiter sa production sur sc\u00e8ne, car elles la per\u00e7oivent comme un appel \u00e0 la haine. Elle est n\u00e9anmoins consid\u00e9r\u00e9e aujourd’hui comme l\u2019une des pi\u00e8ces naturalistes les plus c\u00e9l\u00e8bres d\u2019Allemagne.<\/p>\r\n

Un destin artistique marqu\u00e9 par la censure et la post\u00e9rit\u00e9<\/h3>\r\n

Le portfolio expos\u00e9 au mus\u00e9e annonce magistralement la carri\u00e8re qui suivra. Il s’agit d’une trajectoire d\u2019artiste engag\u00e9e dont la production sera exclusivement consacr\u00e9e au combat contre la r\u00e9pression ouvri\u00e8re. Ses cr\u00e9ations d\u00e9noncent les in\u00e9galit\u00e9s sociales qui m\u00e8nent le peuple \u00e0 la famine et la mis\u00e8re.<\/p>\r\n

Tir\u00e9e \u00e0 cinquante exemplaires, l\u2019\u0153uvre Une R\u00e9volte des Tisserands<\/i> est pr\u00e9sent\u00e9e \u00e0 la Grosse Berliner Kunstausstellung en 1898. Une m\u00e9daille d\u2019or est alors attribu\u00e9e \u00e0 Kollwitz par le jury du salon. Cependant, l\u2019empereur Guillaume II refuse cette distinction. Le souverain juge le sujet de l\u2019\u0153uvre trop actuel et son style naturaliste trop cru.<\/p>\r\n

La renomm\u00e9e de l’artiste n\u2019en devient pas moins grande. La jeune graveuse berlinoise gagne rapidement la popularit\u00e9 et la reconnaissance du grand public. Elle devient en 1919 la premi\u00e8re femme \u00e9lue \u00e0 l\u2019acad\u00e9mie des Beaux-Arts de Berlin. Malheureusement, elle se voit contrainte de d\u00e9missionner en 1933. Cette \u00e9viction fait suite \u00e0 son appel au front unique contre le NSDAP d\u2019Adolf Hitler, qui l\u2019interdit d\u2019exposer en 1935. Ses \u0153uvres et ses affiches seront ensuite interdites ou utilis\u00e9es \u00e0 des fins de propagande par les nazis.<\/p>\r\n

Aujourd\u2019hui, les cr\u00e9ations de K\u00e4the Kollwitz sont expos\u00e9es dans trois institutions majeures qui portent son nom \u00e0 Moritzburg, \u00e0 Cologne et \u00e0 Berlin. De plus, le Mus\u00e9e d\u2019Art Moderne et Contemporain de la ville de Strasbourg poss\u00e8de pr\u00e9cieusement dans ses r\u00e9serves un ensemble de trente gravures de l\u2019artiste.<\/p>\r\n\r\n\r\n\r\n

> Le Mus\u00e9e d’art de la ville de Strasbourg<\/a><\/p>\r\n","protected":false},"excerpt":{"rendered":"

L’exposition \u00ab Je veux agir dans ce temps \u00bb est une grande r\u00e9trospective consacr\u00e9e \u00e0 l’artiste allemande K\u00e4the Kollwitz (1867-1945). Organis\u00e9e par le Mus\u00e9e d\u2019Art Moderne et Contemporain de Strasbourg en partenariat avec le Kollwitz Museum de Cologne, elle rassemble 170 \u0153uvres majeures, principalement des lithographies et des eaux-fortes. Cet \u00e9v\u00e9nement s’est d\u00e9roul\u00e9 du 4 […]<\/p>\n","protected":false},"author":1,"featured_media":1701,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1197],"tags":[1329],"class_list":["post-1700","post","type-post","status-publish","format-standard","has-post-thumbnail","category-portrait-artiste","tag-femmes-artistes"],"yoast_head":"\nKa\u0308the Kollwitz, premi\u00e8re femme \u00e0 entrer aux Beaux-Arts de Berlin en 1919 - GREAT-ARTMAG<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/great-artmag.com\/en\/ka%cc%88the-kollwitz-figure-du-renouveau-de-la-gravure-allemande-au-xixe-siecle\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ka\u0308the Kollwitz, premi\u00e8re femme \u00e0 entrer aux Beaux-Arts de Berlin en 1919 - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"L’exposition \u00ab Je veux agir dans ce temps \u00bb est une grande r\u00e9trospective consacr\u00e9e \u00e0 l’artiste allemande K\u00e4the Kollwitz (1867-1945). 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