Käthe Kollwitz.
The Berlin Museum and Its Collection

The year 2026 marks the 40th anniversary of the founding of the Käthe Kollwitz Museum in Berlin. To celebrate this occasion, the museum is showcasing its collection through a series of new photographs produced as part of a digitization project.

Establishing a Käthe Kollwitz Museum in Berlin, the artist’s home and workplace, had been a long-standing goal of the collector, painter, and art dealer Hans Pels-Leusden since the mid-1960s. During this time, he began building his Kollwitz collection, which in 1986 formed the foundation of the newly established Berlin museum. In addition to the well-known prints, the collection includes rare drawings and proofs that offer insight into the artist’s working methods.

The current publication presents highlights from the museum and draws attention to the distinctive features of individual works.

200 pages with numerous color images, in German

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Käthe Kollwitz and Theater
“We haven’t seen ‘Penthesilea’ yet”

Accompanying publication for the special exhibition at the Käthe Kollwitz Museum in Berlin from February 21 to May 3, 2026

Käthe Kollwitz and the Theater offers a fresh perspective on the artist. While it is well known that the theater inspired her early work, the Kollwitz family’s diverse connections to theater circles and their active participation in Berlin’s thriving theatrical scene have not yet been examined. Furthermore, this publication raises for the first time the question of what influence these intense theatrical experiences had on Käthe Kollwitz’s work.

In its 40th year, the Käthe Kollwitz Museum Berlin takes the first steps toward this exploration with the present publication, thereby also shedding light on Berlin’s illustrious theater history between 1893 and 1933.

240 pages with numerous color images, in German

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Special exhibition from November 8, 2025, to January 18, 2026

In addition to her well-known socially engaged works, Käthe Kollwitz also created works in which she fundamentally explored human emotions. She understood how to detach strong feelings from their temporal context and concentrate on their universal meaning. Feelings such as worry, grief, apathy, despair, or resignation to a situation find intense expression in these special prints.

The exhibition “Silent Strength” brings together many of these emotional, quiet, and at the same time powerful works by the artist from the private collection of Ute Kahl in an impressive presentation—also available in the bilingual catalogue accompanying the exhibition.

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Käthe Kollwitz

is the most famous German woman artist of the 20th century world­wide, her work also en­joying the highest ad­miration out­side of Europe. The distinctive, moving visual language of her graphic and sculptural works is uni­versally intelligible and her potent socio-critical messages and calls for peace more relevant than ever today.

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Lotte Jacobi & Lotte Reiniger

An accompanying booklet has been published for the exhibition at the Käthe Kollwitz Museum Berlin Zwischen Erfolg und Exil (Between Success and Exile) from January 22 to March 20, 2022. It presents the two female artists of Berlin of the Weimar Republic on 78 pages with numerous illustrations of their lives and works.

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Eine Werkschau in sieben Kapiteln. Zum 65. Geburtstag.

Publikation anlässlich der Sonder­aus­stellung im Käthe-Kollwitz-Museum Berlin von November 2007 bis Januar 2008

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Käthe Kollwitz

Sie war eine Ausnahme­künstlerin mit inter­nationaler Strahl­kraft: Käthe Kollwitz (1867–1945). In ihren Zeichnungen, Druck­graphiken, Plastiken und Plakaten hat sie wie keine andere Themen wie Krieg, Armut und Tod, aber auch Liebe, Geborgen­heit und das Ringen um Frieden in nach­drück­licher Weise zum Aus­druck gebracht. Als Studentin erlebt sie die Münchner Bohème mit allen schillernden Facetten, bevor ihr in Berlin mit ihrem ersten druck­graphischen Zyklus der künstlerische Durch­bruch gelang. Zwei Welt­kriege und persönliche Tragödien prägten ihr Schaffen, doch ihre Bio­graphie wider­setzt sich ebenso wie ihr umfang­reiches Œuvre jeder Vor­ein­genommen­heit. Bis heute gilt die Kollwitz als bekannteste deutsche bildende Künstlerin.

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Käthe Kollwitz und Russland – Eine Wahlverwandtschaft

Ausstellungs­katalog zur Sonder­aus­stellung im Käthe-Kollwitz-Museum Berlin (2012/2013)

„… Rußland berauschte mich“, schrieb Käthe Kollwitz 1927 in ihr Tage­buch. Der Katalog beleuchtet das spannende Ver­hältnis der Künstlerin zu Russ­land, ihre zwischen Enthusiasmus und Zweifeln schwankende Ein­stel­lung gegen­über diesem Land, und zeigt ihre Arbeiten, die 1928 in einer Ausstellung in Moskau präsentiert wurden. Zahl­reiche russische Künstler ließen sich von dieser Schau inspirieren.

Der umfang­reiche Katalog­teil in diesem Band stellt den Graphiken der deutschen Künstlerin Werke ihrer russischen Zeit­genossen zur Seite. Doch auch ihr plastisches Werk – ein Aspekt ihres Schaffens, der in Russland bis heute erstaun­licher­weise wenig bekannt ist – wird aus­führ­lich dokumentiert.

Die Begleit­texte namhafter deutscher und russischer Kunst­historiker thematisieren den gegen­seitigen künstlerisch-kulturellen Aus­tausch in einer Zeit gewaltiger sozialer und politischer Um­brüche. Sie werten historische Quellen wie russische Zeitungs­artikel zu den Kollwitz-Aus­stellungen 1928 in Moskau und in Kasan aus, zitieren Tagebuch­auf­zeichnungen der Künstlerin und werfen einen kritischen Blick auf die Kollwitz-Rezeption in der DDR.

Erschienen 2012 im Seemann Verlag, Leipzig.

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“A Weavers’ Revolt” a landmark of class-conscious art, which depicts, in a series of prints, the plight of the worker and his age-long struggle to better his lot. “Death as a Friend”, showing a man greeting his death as an old friend, with a hysterical mixture of joy and terror. “The People”, in which a mother shields her offspring from phantoms of hate, poverty, and ignorance — and symbolizes woman as creator, begetter of the human race, link between past and future.

These works represent the recurrent themes which most characterize the work of Käthe Kollwitz: social consciousness and a sense of the suffering of mankind, an urge to voice the basic maternal attitude, and a preoccupation with death. She has been called a propagandist, a crusader, yet her art is essentially apolitical. Her concern was not with partisan causes, but rather with universal rights.
Fundamentally a dramatic artist, Käthe Kollwitz (1867–1945) brought to each of her works an uncanny ability to evoke human emotions through subtle gestures and facial expressions. The reactions of her characters were psychologically true primarily because she tested them on herself.

The present collection contains 83 of Mrs. Kollwitz’s finest works, including the last great print cycles: “The Weavers” of 1898; “The Peasant War” of 1908; “War” of 1925; and “Death” of 1935. These selections provide a full panorama of Mrs. Kollwitz’s development as a master of the graphic techniques of etching, woodcutting and lithography. Over 69 of the illustrations have been rephotographed from the original works specially for this edition, and new techniques in photolithography and a larger format have resulted in reproductions that are as close as possible to the prints and drawings themselves.

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