{"id":6573,"date":"2021-10-21T14:56:56","date_gmt":"2021-10-21T12:56:56","guid":{"rendered":"https:\/\/www.kaethe-kollwitz.berlin\/uncategorized\/heinrich-zille-2\/"},"modified":"2022-01-18T11:17:31","modified_gmt":"2022-01-18T10:17:31","slug":"en-heinrich-zille","status":"publish","type":"post","link":"https:\/\/www.kaethe-kollwitz.berlin\/en\/archive-exhibition\/en-heinrich-zille\/","title":{"rendered":"Heinrich Zille"},"content":{"rendered":"

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Postcard by Heinrich Zille, 1918, photograph \u00a9 Stiftung Stadtmuseum Berlin<\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”3\/4″][vc_column_text]Special exhibition from November 6, 2021 till January 9, 2022
\n<\/strong>[\/vc_column_text][vc_column_text]Though popular to this day, “Father Zille” still has a hard time proving that he deserves his place among serious artists. The joke-sheet illustrator and surveyor of milieus cultivated a reputation as an entertainer; this hurt the illustrator of Simplicissimus and the Lustige Bl\u00e4tter<\/em> in the 1920s. Zille, creator of extraordinary sketches, had sunk into such obscurity that his appointment to the Academy of Arts in 1924 caused surprise and that a retrospective exhibition for his 70th birthday in 1928 introduced an unknown artist to most visitors.[\/vc_column_text][vc_separator][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”6463″ img_size=”large” alignment=”center” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”6465″ img_size=”large” alignment=”center”][vc_column_text]<\/p>\n

Heinrich Zille, Street Girls<\/em>, 1902, color etching \u00a9 Private collection<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator][vc_column_text]Heinrich Zille first came to public attention as a freelance artist around 1900 when he participated in Berlin Secession exhibitions. His unsparing depictions of social misery closely hugged reality, and his drawings\u2019 unusual style and composition immediately attracted the attention of critics. Prints and graphic editions published by Zille himself as well as his gallerist Fritz Gurlitt found their way to art lovers. However, Zille’s success with the general public, which continues to have an impact to this day, was achieved through witty drawings that dissolved his otherwise precise observations of social misery into many different stereotypical characters.[\/vc_column_text][vc_row_inner][vc_column_inner][vc_separator][vc_single_image image=”6467″ img_size=”400×593″ alignment=”center”][vc_column_text]<\/p>\n

Heinrich Zille, Hunger<\/em>, 1924, lithograph \u00a9 Private collection<\/p>\n

The sheet was part of the so-called Hunger<\/em>-Mappe of seven original lithographs, which were sold for the benefit of the Internationale Arbeiterhilfe<\/em>. Well-known artists such as Otto Dix, George Grosz, Eric Johannsson, K\u00e4the Kollwitz, Otto Nagel and Heinrich Zille took part<\/p>\n

[\/vc_column_text][vc_separator][\/vc_column_inner][\/vc_row_inner][vc_column_text]The exhibition thus focuses on subjects that closely resemble those in K\u00e4the Kollwitz’s work: the marginalized and those who lost out from industrialization and urbanization. Themes such as prostitution, alcoholism, unemployment, child poverty, and precarious housing conditions drove both artists in equal measure. Unlike Kollwitz’s work, the tragedy of Zille\u2019s depictions often threatens to fade among his laconic and humorous captions. The K\u00e4the Kollwitz Museum Berlin would like to use this exhibition to bring this “duo of great skechers” (as Fritz Stahl coined them in 1928) into greater awareness.<\/p>\n

Sheets depicting the milieu in great detail are accompanied by his restrained colored works, which amply demonstrate Zille’s technical refinement. The quick sketches, on the other hand, show his skill in grasping form and movement.<\/p>\n

At the end of the 1920s, K\u00e4the Kollwitz wrote: \u201cThere is more than one Zille: one of them made illustrations for joke-sheets, and the other \u2014 I favor this one \u2014 is neither a humorist nor a satirist, but entirely an artist.\u201d<\/em>[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][\/vc_column_inner][vc_column_inner width=”1\/2″][\/vc_column_inner][\/vc_row_inner][vc_column_text]On display are more than 50 works from a private collection in Berlin, including early, elaborately reworked prints, color etchings, color drawings, and pencil sketches.<\/p>\n

Berlin’s K\u00e4the Kollwitz Museum will move into its new location at Charlottenburg Palace in early summer 2022. Heinrich Zille once lived across from its theater building, on Sophie-Charlotten-Strasse, from 1892 until his death in 1929. This exhibition is therefore also our first step towards our new location.[\/vc_column_text]

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Special exhibition from November 6, 2021 till January 9, 2022<\/p>\n

K\u00e4the Kollwitz appreciated Heinrich Zille in the works in which he artistically captured people and situations exclusively by drawing means. The exhibition at the Kollwitz Museum attempts to present the artist in these essential moments, leaving aside the humorous typifications executed at the time for marketing purposes. For K\u00e4the Kollwitz, these works by Heinrich Zille were “masterpieces”. <\/p>\n

The Kollwitz Museum presents about 60 works, including numerous heliogravures and partly colored drawings.<\/p>\n","protected":false},"author":2,"featured_media":6464,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[95],"tags":[],"class_list":["post-6573","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-archive-exhibition","category-95","description-off"],"_links":{"self":[{"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/posts\/6573","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/comments?post=6573"}],"version-history":[{"count":1,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/posts\/6573\/revisions"}],"predecessor-version":[{"id":6577,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/posts\/6573\/revisions\/6577"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/media\/6464"}],"wp:attachment":[{"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/media?parent=6573"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/categories?post=6573"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kaethe-kollwitz.berlin\/en\/wp-json\/wp\/v2\/tags?post=6573"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}