Käthe Kollwitz:
Sculpture "Farewell" (1940/41), Bronze
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Käthe Kollwitz:
Sculpture "Farewell" (1940/41), Bronze
Details
https://www.arsmundi.com/en/artwork/skulptur-abschied-1940-41-bronze-872265.htmlProduct Actions
Short description
ars mundi special edition | Limited, 980 copies | Numbered | Signature | Foundry stamp | Certificate | Bronze | Patinated | Format 21 x 13,5 x 11,5 cm (H/W/D) | Weight ca. 3,5 kg
Kaethe Kollwitz (1867-1945) was often perceived as a primarily social, even politically motivated artist, as she repeatedly raised her voice for the poor and oppressed. Kollwitz insisted on humanity even in inhuman times, and that alone could and had to be understood as a political positioning. Her importance to the present day, however, lies in the fact that she never worked on it as an artist, but at the same time gave her figures an intimacy that virtually excludes her from reading them as one-dimensional "symbols" or "examples".
This can also be seen in a central theme of her late work, the "Farewell" of 1940/41. The artist deals with the pain of the death of Karl Kollwitz in 1940, her partner for half a century. The motive of the hug, often found in Kollwitz 'work, here it forms a picture of utmost closeness and intimacy in the moment of loss. In this work small gestures have a big meaning. While she clings to him, he breaks away from her, and it is a go, but also a let go, maybe even the moment of acceptance of the inevitable.
Sculpture in fine bronze, patinated. Cast by hand in lost wax technique. The shape was taken directly from the original and enlarged. Limited edition of 980 copies, individually numbered and stamped with the signature taken from the museum's original and the foundry hallmark. With a numbered authenticity and limitation certificate. Format 21 x 13.5 x 11.5 cm (H/W/D). Weight about 3.5 kg. ars mundi special edition.
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Käthe Kollwitz: Sculpture "Farewell" (1940/41), Bronze
Kaethe Kollwitz (1867-1945) was often perceived as a primarily social, even politically motivated artist, as she repeatedly raised her voice for the poor and oppressed. Kollwitz insisted on humanity even in inhuman times, and that alone could and had to be understood as a political positioning. Her importance to the present day, however, lies in the fact that she never worked on it as an artist, but at the same time gave her figures an intimacy that virtually excludes her from reading them as one-dimensional "symbols" or "examples".
This can also be seen in a central theme of her late work, the "Farewell" of 1940/41. The artist deals with the pain of the death of Karl Kollwitz in 1940, her partner for half a century. The motive of the hug, often found in Kollwitz 'work, here it forms a picture of utmost closeness and intimacy in the moment of loss. In this work small gestures have a big meaning. While she clings to him, he breaks away from her, and it is a go, but also a let go, maybe even the moment of acceptance of the inevitable.
Sculpture in fine bronze, patinated. Cast by hand in lost wax technique. The shape was taken directly from the original and enlarged. Limited edition of 980 copies, individually numbered and stamped with the signature taken from the museum's original and the foundry hallmark. With a numbered authenticity and limitation certificate. Format 21 x 13.5 x 11.5 cm (H/W/D). Weight about 3.5 kg. ars mundi special edition.
A plastic work of sculptural art made of wood, stone, ivory, bronze or other metals.
While sculptures from wood, ivory or stone are made directly from the block of material, for bronze casting a working model is prepared at first. Usually it is made of clay or other easily shaped materials.
The prime time of sculpture after the Roman antiquity was the Renaissance. Impressionism gave a new impulse to the sculptural arts. Also the contemporary artists, such as Jorg Immendorf, Andora, and Markus Lupertz enriched the sculpture with outstanding works.
An alloy of copper with other metals (especially with tin) used since ancient times.
Bronze casting:
When casting bronze, artist usually applies the lost-wax technique which is dating back more than 5000 years. It's the best, but also the most complex method of producing sculptures.
Sculpture "The Book Reader" by Ernst Barlachs is shown here as an example:
First, the artist forms a model of his sculpture. It is embedded in a liquid silicone rubber composition. Once the material has solidified, the model is cut out. The liquid wax is poured in the negative mould. After cooling down, the wax casting is removed from the mould, provided with sprues and dipped into ceramic mass. The ceramic mass is hardened in a kiln, and the wax flows out (lost mould).
Now we finally have the negative form, into which the 1400 ° C hot molten bronze is poured. After the bronze had cooled down, the ceramic shell is broken off and the sculpture comes to light.
Now the sprues are removed, the surfaces are polished, patinated and numbered by the artist himself or, to his specifications, by a specialist. Thus, each casting becomes an original work
Related links:
Sand casting
Graphic or sculpture edition that was initiated by ars mundi and is available only at ars mundi or at distribution partner licensed by ars mundi.
