This showcase not only reaffirms Kollwitz’s enduring influence but also sparks dialogue on the role of socially-engaged art in the current political climate.
The centerpiece of the exhibition, Kollwitz’s “Work-Woman, with Blue Shawl” (1903), stands as a testament to the artist’s exceptional ability to convey human dignity in the face of adversity.
Gallery owner/curator Rutberg lingers over the piece’s rarity.
“Virtually all [of Kollwitz’s works] are monochromatic with the exception of a only a few exceedingly rare color prints including Work-Woman, with Blue Shawl, now on offer in our current exhibition, ‘ART A to Z’.”
Rutberg’s decision to feature this piece follows the Museum of Modern Art’s major Kollwitz exhibition, creating a compelling cross-country dialogue on the artist’s legacy.
“Käthe Kollwitz (1867-1945) is arguably the most celebrated woman artist in all of art history. Her impact upon generations of 20th and 21st century artists is unequaled,” Rutberg has said.
No fewer than two museums are exclusively dedicated to her works — in Berlin and another in Cologne.
The exhibition’s narrative actually extends beyond Kollwitz, encompassing a diverse range of artists under the “A to Z” umbrella. This alphabetical conceit serves as more than a taxonomic exercise; it in effect becomes a means of ‘democratizing’ the artistic landscape, placing emerging voices alongside established masters. In doing so, Rutberg is challenging the traditional hierarchies of the art world.
In doing so, he happens to echo Kollwitz’s own commitment to accessibility and social equity in art.
Rutberg’s deep connection to Kollwitz’s legacy is evident in his recollection of a personal encounter:
“In 1985, Jake [Zeitlin] visited my Kollwitz exhibition, gifting me the catalogue with his inscription: ‘To Jack Rutberg, with my compliments on carrying the Kollwitz tradition forward into the 1980s.’”
The historical context of Kollwitz exhibitions in Los Angeles is noteworthy. In 1937, Zeitlin presented a Kollwitz exhibition, celebrating the artist’s 70th birthday. Proceeds from that exhibition were shared with the Hollywood Chapter of the Anti-Nazi League.
Another significant contribution to Kollwitz’s legacy in the area comes from Dr. Richard Simms, who assembled an astounding Kollwitz collection over a span of 40 years. This collection now resides permanently at the Getty Museum Collection.
The community engagement aspect of “ART A to Z” is particularly noteworthy, reflecting Kollwitz’s own commitment to social causes. As the source document reminds us, “Kollwitz was a vocal advocate for social change, supporting causes such as abortion rights and workers’ rights. Her socialist upbringing in Königsberg played a significant role in shaping her political views and artistic themes.”
“Throughout her career, Kollwitz produced a total of 275 prints using various techniques including etching, woodcut, and lithography. Her work often depicted universal human emotions such as anguish, despair, and determination.”
Kollwitz’s personal experiences profoundly influenced her art. Regrettably, her son Peter died in World War I in 1914, which had a profound impact on her work and led her to use it as both an emotional outlet and a form of anti-war propaganda.
On reflection it seems clear that “ART A to Z” is more than a retrospective or a simple ‘group show.’ It seems rather a statement on the power of art to transcend time and medium, to speak to universal human experiences, and to inspire social change. By placing Kollwitz’s rare color work at the heart of this diverse and forward-looking exhibition, Rutberg creates a compelling argument for the continued relevance of socially engaged art.
“ART A to Z” reminds that the role of art is not merely to reflect society but to challenge and shape it.
Jack Rutberg Fine Arts is located at 600 South Lake Ave., Suite 102, Pasadena 91106. Gallery Hours: Tues – Fri: 10:00 to 6:00 and Sat: 10:00 to 5:00. For more information, call (323) 938-5222, see www.jackrutbergfinearts.com or write jrutberg@jackrutbergfinearts.com.