“Käthe Kollwitz is undoubtedly one of the most important women of the modern age. Her art developed completely autonomously and shows many signs of genius. Kollwitz’s work has achieved critical acclaim across the world, whereas such prominent masters as Thoma and Menzel have only found lasting recognition in German speaking regions.

With the exception of a few works commissioned for a specific purpose, Käthe Kollwitz’ art is timeless; as Emile Nolde would say, it is “everlasting”. Even Paula Modersohn-Becker’s art which is so important for early Expressionism, does not carry the same significance nor does it have the same international profile as that of Käthe Kollwitz. The broad spectrum of her artistic work embraces both crucial aspects of life suffering per se – poverty and death, hunger and war – as well as the truly happy and positive sides of life. In this respect she differs from conventions set forth by Ernst Barlach, for example.

Our exhibit clearly manifests a polarity within her work, which has seldom been recognized before. It proves that she was not driven to her choice of subject matter by an obsession with the tragedies of life. Nor do the numerous and extraordinarily impressive self-portraits reveal anything oppressive or self-tormenting. On the contrary, they explode with life-force, audacity and self-confidence. And beyond this they are simply of great beauty.”

Hans Pels-Leusden, 1967

Museum collection

The museum founder Hans Pels-Leusden (1908-1993) had been working with the artist Kollwitz for a long time when, in 1986, the opportunity finally arose to realize the wish for a Käthe Kollwitz museum in her hometown. In addition to the sculptural work that the Kollwitz family made available to the young museum, the collection of Hans Pels-Leusden forms the basis of the museum’s holdings. His collection was that of an enthusiastic and knowledgeable lover who, however, did not collect systematically or for completeness. Certain topics fascinated him, such as the self-portraits or the status prints, which made it possible to experience the way to the finished work. The final state or even a complete graphic portfolio, such as the “Weavers’ Revolt”, were less interesting to him. After the museum was founded, important works had to be added to the holdings due to the special focus of the donor’s collection. So Käthe Kollwitz’s work can be presented to museum visitors today in all its diversity. The museum received support from private collectors, the Association of Friends founded in 1987, and institutions that made works available either as permanent loans or donations. Our heartfelt thanks go to all of them!

Below is a brief insight into the museum’s holdings.

Under #blickindiesammlung (a look in the collection) we regularly present works from our collection on Facebook.