Peter Kollwitz

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The 18-year-old Peter Kollwitz as a musketeer , October 2, 1914

Peter Kollwitz (born February 6, 1896 in Berlin ; † October 23, 1914 near Esen near Diksmuide , West Flanders Province , Belgium ) was an active " wanderer bird " in the youth movement , a student of painting and sculpture, and a soldier in the First World War . His mother, the internationally known artist Käthe Kollwitz , and his contact with personalities such as Walter Benjamin , Siegfried Bernfeld and Gustav Wyneken made him a figure in contemporary history. Kollwitz was mentioned in the artist's diary and therefore also in secondary academic literature, encyclopedias, the press and filmed historical documentaries. He was also represented in various works by the artist. In his memory, his mother created her main sculptural work, a group of figures that was erected on his grave and which still exists today.

family

Peter Kollwitz was the second son of the Königsberg-born sculptor, painter and graphic artist Käthe Kollwitz and the doctor Johannes Carl August Kollwitz, who was born in Rudau near Königsberg in East Prussia . Peter Kollwitz had an older brother, the later doctor Hans Kollwitz (1892–1971).

Life

National Gallery of Art , Washington, DC : 7-year-old Peter Kollwitz as a model for the etching “Woman with a dead child”, Käthe Kollwitz , 1903
Hans and Peter Kollwitz, 1904

In August 1910, Käthe Kollwitz noted a memory of Peter in her diary during the summer holidays in Rauschen on the Curonian Spit :

“When I think back, he was a fine, quiet, amiable child. "I want to be wild too," he said once when he saw Hans raging in a rush, and also began to run back and forth. "

- Käthe Kollwitz

In May 1913 she wrote: “I haven't seen him cry in years, only as a boy, and that stunned, almost broken sob, that's what I always think about. That he will cry too when I die. Even if he's a man. He is soft and very amiable. ” Peter Kollwitz spent most of his life at Weißenburger Straße 25 (today: Kollwitzstraße 56 a (new building), on Kollwitzplatz ) in the Berlin district of Prenzlauer Berg .

Partial view of Peter Kollwitz's youth room on Weißenburger Strasse in Berlin-Prenzlauer Berg , after 1914

In 1904, Hans and Peter Kollwitz had an unexpected addition to the family when their mother brought a “foster son” with her from Paris, Georg Gretor , the twelve-year-old son of their college friend, the painter Rosa Pfäffinger , and the painter and art dealer Willy Gretor . From then on, the three boys grew up together.

There was no lack of space because the Kollwitz family used two floors of an apartment building. The father's doctor's practice was on the second floor of the house, and at times also the mother's studio. Above that on the third floor was the apartment. Peter's youth room was sober and simply furnished: an iron bed frame, a cupboard with glass doors in which his stone collection and a plaster of paris head of the Greek son of the gods Narcissus were kept, a bookcase and an easel . On the wall hung a silhouette of his profile and his guitar framed behind glass ; his skis and toboggan stood in one corner.

In her diary entries, Käthe Kollwitz outlined the thoughts and preferences that haunted her own son:

“ Play billiards . Rockclimbing. Painting expressionistically . Skip school. The star Sky. In Zarathustra read. The Tuscany in May. Erich Krems . Hang out in Aschinger's fast buffet. Kintopp . The Baltic dunes at Prerow . Ice skating . The mass demonstrations of the SPD against the danger of war. Read Oscar Wilde in English. Smoke. Rebel against the school. "

- Käthe Kollwitz

From 1908 the twelve-year-old Peter became the protagonist of a school newspaper project. The first issues of the youth magazine The Beginning are considered Kollwitz's product, because Hans Kollwitz became the author, Peter contributed his own drawings and other texts, two cousins ​​also worked on drawings, “foster brother” Georg Gretor wrote articles. Initially hectographed , the beginning appeared in print from 1911. Georg Gretor published under a pseudonym as Georges Barbizon, after his hometown Barbizon near Paris. The youngsters Walter Benjamin , Siegfried Bernfeld and the equally scandalous and extremely contentious Gustav Wyneken were there as authors , the latter as editor. The beginning was banned in all schools in Bavaria .

Walter Benjamin and Wyneken were associated with the Free School Community in Wickersdorf near Saalfeld in the Thuringian Forest , a reform-pedagogical rural education home that had been a talking point since 1906. Bernfeld, who lived with the Kollwitz family for a week in June 1914, was an admirer of Wyneken and, according to an entry in Käthe Kollwitz's diary, represented the revolutionary faction at the time, while her son Hans Kollwitz and Richard Noll were close to the more spiritually oriented Fichte faction .

From left: Hans , Käthe and " Wandervogel " Peter Kollwitz, 1909

From 1909 thirteen-year-old Peter was in contact with the youth movement ( Bündische Jugend ) through his “foster brother” Georg Gretor , and like this one became a “ wanderer ”. Georg attended the Free School Community of Wickersdorf from 1911 and was also a substitute teacher for French there, as he knew his mother tongue and was already advanced in age.

Peter was very close friends with Erich Krems from Schöneberg , who was two years his junior from Berlin and who also attended this boarding school in Thuringia. Erich, Peter, Julius Hoyer, Hans Koch , Gottfried Laessig and Richard Noll formed a bond of friendship and love that served to develop a close sense of community. At least Peter Kollwitz had always felt lonely inside and didn't want to play alone as a child. Some of his friends began to address Käthe Kollwitz as “mother”, an expression of the close relationship that was cultivated.

In April 1911 Peter told his older brother Hans that he wanted to become an artist, definitely a painter. His mother presented some of his drawings to her colleague Max Liebermann , who confirmed that he was talented and advised that Peter either enroll in the academy or in the teaching establishment of the Kunstgewerbemuseum in Berlin.

In the same year, Peter's school transfer was at risk, so that his parents considered sending the now 15-year-old to Georg Gretor and Erich Krems in the rural education center in Wickersdorf. The desired distance there from the state school structures of the Wilhelmine era , a greater degree of personal freedom, individuality and the camaraderie cultivated in this boarding school could probably have attracted Peter, but the lessons themselves there hardly differed from what he did at the state schools Berlin was used to. On closer inspection, it turned out that Peter would have had to repeat a year in order to catch up on the material in the free school community . After weighing up the advantages and disadvantages of changing schools, Georg Gretor advised against it. Peter Kollwitz then received permission from his parents to leave the state school with the secondary school leaving certificate instead of the Abitur , and left his school in Berlin at Easter 1912. As a result, Peter attended Arthur Lewin-Funcke 's painting class at the teaching establishment of the Berlin Museum of Decorative Arts.

Käthe Kollwitz, whose sons Hans and Peter rated the youth movement ( Bündische Jugend ) as “very important”, wrote in her diary in the spring of 1914 that “a movement was evidently emerging from the youth themselves” which, with strong pathos, was a “rebirth of the German Youth ”. In doing so, she sensitively described the atmosphere of the time, which could be characterized as "vague religiosity", as a religiously motivated search for meaningful offers in the broadest sense. In the age group of her children, she observed a strong tendency towards idealism, a tendency towards visionary-prophetics and a pronounced receptivity to soulful and pathetic formulas of departure. She was determined to follow this youth into the future.

During the summer vacation of 1914, Hans Koch, Peter Kollwitz, Erich Krems and Richard Noll took the ship to hiking to Norway , where they learned of the declaration of war by Austria-Hungary , which was also joined by the German Empire , against the Kingdom of Serbia . There they made the decision to register as volunteers with the German Army and immediately broke off their vacation.

After his brother, the medical student Hans, who was almost four years older, had already volunteered for the medical service, on August 10, 1914, Peter asked his father Karl to allow him to volunteer as a war volunteer. As an 18-year-old he was not yet of legal age and was therefore not allowed to decide this himself. That evening, Käthe Kollwitz noted: “In the evening, Peter asked Karl to let him go before the Landsturm call. Karl speaks against everything he can. I feel grateful that he fights for him like this, but I know it doesn't change anything anymore. - Karl: "The fatherland doesn't need you yet, otherwise it would have called you". - Peter more quietly but firmly: "The fatherland doesn't need my year, but it needs me". He always turns silently to me with a pleading look that I speak for him. Finally he says: "Mother, when you hugged me, you said: 'Don't think we're cowards, we're ready'". I get up, Peter follows me, we stand at the door and hug and kiss, and I ask Karl for Peter. ”It was Käthe Kollwitz who persuaded her husband Karl to comply with Peter's request. As the head of the household, the husbands or fathers had the sole right to make decisions.

The Zehlendorfer Otto Braun was 16 months younger than Peter Kollwitz and had with his father Henry Brown made a very similar conversation. Now Otto's mother Lily Braun and Käthe Kollwitz, who were friends with each other, agreed by telephone. “Yesterday Ms. Kollwitz rang me to discuss the issue of equipment. In addition to the silk rain vest, she also got the trousers that go with it, especially because as an infantryman Peter has to lie in trenches a lot . I want to do it too. ” Officer candidates like Otto Braun and Peter Kollwitz had to take care of their uniforms, equipment and food in the garrisons themselves. Käthe Kollwitz wrote in her diary on August 20, 1914: "Get Peter the things he needs."

Hans Koch's father was a high official in the Prussian War Ministry , possibly the Real Secret Admiralty Councilor Paul FH Koch from Groß-Lichterfelde , who had to let his relationships play out in order not only to accommodate the friends in a regiment at all, but also in the same, because there were more than enough volunteers at that time.

After several weeks of training at the Wünsdorf military training area around 55 kilometers south of Weißenburger Strasse, Peter said goodbye on October 12, 1914. He was now a musketeer in Reserve Infantry Regiment No. 207. This belonged to the 88th Reserve Infantry Brigade, the the 44th Reserve Division . Käthe Kollwitz, who visited him in Wünsdorf that day, gave him a pocket chess set and Goethe's Faust as a present , as a light three-part booklet edition. Karl and Käthe Kollwitz hoisted the black-white-red German flag out of one of their windows for the first time , more a tribute to the sons who had moved to the front than to Kaiser Wilhelm II.

Peter's close friend Erich Krems gave a description of what the boys had to experience. “Now we are on the road for the third day . Tall, solemn, frighteningly tall trees, mourning autumn. Already quite numb, we hear the distant and nearer shots of the batteries, see a lot driving by, frenzied, whipped artillery , paramedics, pioneers , ammunition column , chasing cars of the General Command , all forward, into battle. Into the great battle. Because this is about crucial things. Massive march. And very close, in front of us, the thundering cannons. Shrapnel bursting in the sky . Fire of the bivouac . Breaking the iron rations . There was tremendous excitement and tension in all of my nerves. We wait and do nothing. Are reserve. But feel the battle in everything. And at any moment it can come, the order "to the rifles" that will bring us into the trenches and into the great "tightrope walker" game. Peter [Kollwitz] and Hans Koch are with me. "

Käthe Kollwitz wrote to her son Peter: “My dear boy! No news from you. Perhaps you are already in the fire. In spite of the fact that your life is now at risk every hour, in spite of the fact that I think of the hardships that you will surely have to endure, I don't feel as heavy as before. Maybe it's because I drew and so removed the pressure from my heart on the paper. Anyway, I think of you with firm confidence. And with love - you dear loyal boy. ”A little later in another letter:“ My dear boy - will you get our cards? It's a strange feeling that everything you write may not reach you at all. ”This quote comes from a letter that Peter Kollwitz actually no longer reached. The envelope was marked: "Back - dead" and arrived back in Berlin on October 30, 1914.

Erich Krems passed on the news of Peter Kollwitz's death in a Belgian ditch during the First Battle of Flanders on the night of October 22nd to 23rd, 1914 by field post to his revered teacher Gustav Wyneken . "Don't believe any of the usual phrases about the" excellent spirit in our army. " There is nothing the soldier outside wants more than peace ... The feeling is general: What a senseless, terrible thing war is! As nobody wanted him, not the Belgian who is aiming at me, not the Englishman who I am aiming at. "

obituary

Field post letter with return note: "Back - dead"

On October 30, 1914, the Kollwitz couple learned of the death of their son Peter. Käthe Kollwitz later noted: “Death for the fatherland, that speaks out. What a terrible tragedy, what a triumph of Hell is hidden behind the smooth mask of these words ”. She described her state of mind elsewhere as follows: “There will come times when I almost no longer feel Peter's death. It is an indifferent state of mind, instead of a feeling I feel emptiness. Then gradually comes a dull longing, then finally it breaks through, then I cry, I cry, then I feel again with my whole body, with my whole soul that Peter is dead. "She wrote to Marie Schröder in November 1914:" The beautiful scarf can no longer warm our boy. He's dead underground. He was the first of his regiment to die near Dixmuiden. He didn't have to suffer. The regiment buried him at sunrise and his friends laid him in the grave. Then they went to their terrible work. We thank God that he was so gently taken away from the slaughter. "

The parents gradually learned the details: Part of his unit had been lying in the trenches, another was under fire on the opposite side of a road. The order to withdraw into the safe ditch was passed on by Peter while standing up. He was fatally hit. He was the first to fall in his regiment. His friend Hans Koch dug the grave and had to take cover in it. He later reported on the funeral: “The leader of the battalion was the first to take an oak branch and put it on the hill. After him the captain - and the lieutenant had a cross made and wrote on it: "Here died the heroic death for the fatherland Peter Kollwitz, war volunteer Res. Inf. Reg. 207" ". There are other accounts of Hans Koch, some of which may have been legendary, in order to spare the relatives from too gruesome details of the real process.

In Flanders Fields Museum , Ypres , West Flanders : Former grave cross for Peter Kollwitz, date unknown

After the war death of her son Peter, Käthe Kollwitz tried harder to get Hans Koch, Erich Krems and Richard Noll, his regimental comrades, who had been near and in contact with her son in the last days and hours of her son's life. She wrote them letters, invited them over and stood by them. As early as the spring of 1915 the boys were disaffected and disillusioned; the initial patriotic conviction and willingness to make sacrifices had become a duty. Erich Krems' report about Peter was very close to her: the boy shared her pain; he felt the loss himself. Every time he was on leave from the front he came to Weissenburger Strasse, where Kollwitz lived. Käthe Kollwitz wrote in her diary: “Krems was there this evening. Before he left he was over with Peter [in his room]. He put 4 beautiful roses on his bed for him. When he came out of his room his face shone with joyful love ”. She felt motherly feelings for Erich Krems, who reminded her of her fallen son in his idealism, his passion and impatience and the simplicity of his service: "He was looking for nothing, he just gave himself and without any words". She hoped he would survive.

They were four close friends when they decided together in Norway to go to war. Erich Krems placed four roses on Peter's orphaned bed.

Käthe Kollwitz : Lying Dead Soldier (Peter Kollwitz), plaster model, 1915/16
Käthe Kollwitz Museum Cologne : Woodcut Die Freiwilligen , as part of the cycle The War by Käthe Kollwitz , 1918–1922. From left: Death (with drum), held by Peter Kollwitz, followed as if in trance by Erich Krems (3rd from left), [1 figure not identified; possibly Richard Noll or Gottfried Laessig], Walter Meier (2nd from right), far right Julius Hoyer
German military cemetery in Vladslo , West Flanders : Granite figure group “ Mourning Parents ”, 1914–1932, Käthe Kollwitz - The figures show the facial features of the artist and her husband Karl Kollwitz
Neue Wache , Unter den Linden , Berlin: “ Mother with a dead son ”, Käthe Kollwitz , 1937–1939, dedicated to Peter Kollwitz

On December 1, 1914, Käthe Kollwitz began work on a planned memorial for her son Peter. “I want to honor you with the monument. Everyone who loved you will keep you in their heart, you will continue to work with everyone who knew you and experienced your death. But I want to honor you differently. I want to honor the death of all of you young volunteers embodied in your form. It should be cast in iron or bronze and stand for centuries. "

She began with the figure of the fallen, which she once performed as a nude and later in clothing. In May 1915 she wrote to her son Hans at the front: “What kind of time is that? Heavenly spring - all animals - all plants full of love and bliss - and this slaughter on earth. Only when I'm at work do I feel more clear again. I see Peter's pious face and know he understood what he had to do. Then I feel very calm. ”The first plaster cast was made by 1915/16 , of which only one photograph has been preserved in the Berlin State Archives. It shows a dead soldier lying on his back with his head stretched back, Peter, who was planned as the central figure of a three-part memorial. The stylistic feature of the overstretched head is later found in the realized Pietà mother with dead son .

On August 27, 1916, Käthe Kollwitz noted in her diary: “My untenable contradictory position on the war. How did it come about? Through Peter's sacrificial death. What I realized at the time and what I wanted to keep in my work is now becoming so wavering again. I think I will only be able to keep Peter if I do not let what he taught me then be withdrawn from me. Now the war lasts two years and five million young men are dead and more than that many people have become unhappy and destroyed. Is there anything else that justifies that? "

Her son Peter's circle of friends, in which she participated so intensely, paid a high price like her son; almost all of them fell: Lothar Brandes, Erich Krems († March 10, 1916), Walter Meier, Richard Noll († September 27, 1916), Julius Hoyer († November 1918), Gottfried Laessig († November 1918). Only Hans Koch survived the war. He was seriously wounded in the summer of 1915 and was eventually discharged from home duty.

Käthe Kollwitz mentioned her son Peter and his close friends Erich Krems and Richard Noll in her diary on October 11, 1916: “Peter, Erich, Richard, all based their lives on the idea of ​​patriotism. The English, Russian, and French youths did the same. The result was rushing against each other [...]. So has the youth in all of these countries been betrayed? Has their dedication been used to bring about the war? Where are the culprits? Do they exist? Are all deceived? Was it mass madness? And when and how will waking up be? The abyss has not closed. He has devoured millions and still gapes. [...] Is it unfaithful to you - Peter - if I can only see the madness now in the war? "

“At the time, it was completely impossible for me to imagine letting the boys go, just as parents have to let their boys go now, without saying yes inside - just to the slaughter. That's what makes everything different. The feeling we were cheated back then. And Peter might still be alive if it hadn't been for this terrible fraud. Peter and the millions and millions, many millions of others. Everyone cheated. ”Käthe Kollwitz also artistically documented the mourning for her youngest son. In 1918 Käthe Kollwitz began working on her print series The War, which was continued until 1922 . Below that, on the second sheet, Die Freiwilligen, is her son Peter with his friends Erich Krems, Walter Meier and Julius Hoyer as well as another, so far unidentified of his friends. This could be Richard Noll (probably) or Gottfried Laessig.

In the prints, the figuratively depicted death pulls youth with it. Death holds her son Peter in one arm while he beats the drum. In addition to Peter, who was the first of his circle of friends to fall in 1914, Erich Krems follows as if in a trance . Käthe Kollwitz also lined up other friends of her son in the representation chronologically according to the date of death from left to right, such as Walter Meier and Julius Hoyer. The artist marked its initial on a duplicate of the work.

Peter Kollwitz was buried in the German war cemetery Esen-Roggeveld in West Flanders. One of the older wooden grave crosses by Peter Kollwitz is preserved in the permanent exhibition of the In Flanders Fields Museum in Ypres . It bears the inscription "Peter Kollwitz RJR 207 † 23.10.14" in capital letters. In Esen-Roggeveld in 1932, after much discussion and resistance, the granite figure group “ Mourning Parents ” was erected, which bears the facial features of Karl and Käthe Kollwitz and depicts both kneeling. Compared to the original conception by Käthe Kollwitz, however, the realized monument shows a serious change: the reclining figure representing Peter was completely omitted. This should once be positioned in the middle in front of the two kneeling parents. With her head stretched backwards, she would have looked as if she was looking for eye contact with her parents. As in real life, without this figure representing Peter, only the relatives remained in despair and deep sadness.

After the Esen-Roggeveld cemetery and many others were closed in 1956, Peter Kollwitz is now in the German military cemetery in Vladslo in West Flanders, around 20 kilometers south of Ostend . Unmistakably, almost life-size, the group of figures was set up by Käthe Kollwitz in such a way that it overlooks the cemetery with 25,645 German dead. It is considered to be the main sculptural work of the artist. It took her 18 years to create it, just as long as Peter Kollwitz was allowed to live. She never got over the death of her youngest son, probably also because it was she who persuaded her husband, despite his resistance, to let Peter go to the front.

In 1903, when Peter was seven years old, she drew him lying in her arms and called the picture "Woman with a dead child". She and Peter sat in front of a mirror as a model. Her older son Hans noted in his diary on October 26, 1919: “I ask mother where, years before the war, she got her mother's experience with the dead child that dominates almost all of her pictures. She believes that she anticipated Peter's death even in those years. She would have worked on these pictures with crying. ”Her Pietà“ Mother with a dead son ”, created between 1937 and 1939 - it is in the Neue Wache on Unter den Linden boulevard in Berlin - shows a mother crouching on the floor and her dead son resting between her legs on her lap. This sculpture is dedicated to Peter. Every year wreaths and arrangements are laid there, also by the Federal President. The artist wrote about this sculpture in her diary: “I am working on the small sculpture that emerged from the three-dimensional attempt to make the elderly. It has now become something of a pietà. The mother is sitting with the dead son on her lap between her knees. It is no longer pain, but reflection ”. Two years later she added to this work “that the Son was not accepted by men. She is an old, lonely and darkly meditative woman ”.

literature

  • Fritz Böttger : Towards New Shores: Women's Letters from the Middle of the 19th Century to the November Revolution of 1918 . Verlag der Nation, Berlin 1981.
  • Hans Kollwitz (Ed.): The Diary and Letters of Kaethe Kollwitz . Northwestern University Press, Evanston, Illinois, 1988, ISBN 978-0-8101-0761-8 .
  • Jutta Bohnke-Kollwitz (Ed.): Käthe Kollwitz. The diaries . Siedler, Berlin 1989, ISBN 978-3-8868-0251-7 .
  • Regina Schulte: The Upside Down World of War: Studies on Gender, Religion and Death . Campus Verlag, Frankfurt am Main 1998.
  • Alexandra von dem Knesebeck: Käthe Kollwitz: Catalog Raisonné of Her Prints . Kornfeld, Bern 2002
  • Peter Dudek : Fetish youth. Walter Benjamin and Siegfried Bernfeld - youth protest on the eve of the First World War . Julius Klinkhardt, Bad Heilbrunn 2002, ISBN 978-3-7815-1226-9 .
  • Gideon Botsch , Josef Haverkamp: Youth Movement, Anti-Semitism and Right-Wing Politics. From the “Freideutschen Jugendtag” to the present . (= European-Jewish studies - contributions 13). Walter de Gruyter, Berlin 2014, ISBN 978-3-1103-0642-2 .
  • Sven Felix Kellerhoff : Home Front. The fall of the ideal world - Germany in the First World War . Bastei Lübbe, Cologne 2014, ISBN 978-3-8387-5621-9 .
  • Yury Winterberg , Sonya Winterberg : Kollwitz. The biography . C. Bertelsmann, Munich 2015, ISBN 978-3-570-10202-2 .
  • Yvonne Schymura: Käthe Kollwitz. Love, war and art . CH Beck, Munich 2016, ISBN 978-3-4066-9871-2 .
  • Claire C. Whitner (Ed.): Käthe Kollwitz and the Krieg Cycle . In: ders .: Käthe Kollwitz and the Women of War: Femininity, Identity, and Art in Germany During World Wars I and II . Yale University Press, New Haven. Connecticut, 2016, ISBN 978-0-3002-1999-9 .
  • Roswitha Mair: Käthe Kollwitz: A life against any convention . Novel biography. Herder, Freiburg 2017, ISBN 978-3-451-81206-4 .
  • Ulrike Koch: "I found out about it from Fritz Klatt" - Käthe Kollwitz and Fritz Klatt . In: Käthe Kollwitz and her friends: Catalog for the special exhibition on the occasion of the 150th birthday of Käthe Kollwitz . Published by the Käthe-Kollwitz-Museum Berlin, Lukas Verlag, Berlin 2017, ISBN 978-3-8673-2282-9 .

Media processing

Peter Kollwitz is mentioned in a song by the Belgian songwriter Willem Vermandere , which refers to the German military cemetery in Vladslo.

In the DEFA feature film Käthe Kollwitz - Pictures of a Life from 1987, Peter Kollwitz is played by the actor Matthias Freihof .

In the German-French-Canadian TV documentary 14 - Diaries of the First World War from 2014, Peter Kollwitz's path to the front is described, retold in his mother Käthe's diary. In play scenes, he, his mother and his father are portrayed by actors.

Videos

Web links

Commons : Peter Kollwitz  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e f g h i j Ulrich Grober : The short life of Peter Kollwitz. Report of a search for clues . In: Die Zeit , November 22, 1996, on: zeit.de
  2. ^ Käthe Kollwitz . In: Munzinger Biographie Online, on: munzinger.de
  3. ↑ a b c Personal register ( Memento of the original from March 31, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . In: Käthe Kollwitz Museum Cologne , on: kollwitz.de @1@ 2Template: Webachiv / IABot / www.kollwitz.de
  4. ↑ a b c d Peter Dudek: Fetish youth. Walter Benjamin and Siegfried Bernfeld - youth protest on the eve of the First World War . Julius Klinkhardt, Bad Heilbrunn 2002, ISBN 978-3-7815-1226-9 , pp. 45-46.
  5. ^ Gideon Botsch, Josef Haverkamp: Youth Movement, Anti-Semitism and Right-Wing Politics. From the “Freideutschen Jugendtag” to the present . (= European-Jewish studies - contributions 13). Walter de Gruyter, Berlin 2014, ISBN 978-3-1103-0642-2 ; P. 80.
  6. ^ A b c d Yury Winterberg, Sonya Winterberg: Kollwitz. The biography . C. Bertelsmann, Munich 2015, ISBN 978-3-570-10202-2 , p. 90.
  7. ↑ a b c Peter Kollwitz: fallen in 1914 at the age of only 18 . In: vrtNWS, October 22, 2014, on: vrt.be
  8. ↑ a b Jutta Bohnke-Kollwitz (Ed.): Käthe Kollwitz. The diaries . Siedler, Berlin 1989, ISBN 978-3-8868-0251-7 , pp. 145f.
  9. ^ Yvonne Schymura: Käthe Kollwitz. Love, war and art . CH Beck, Munich 2016, ISBN 978-3-4066-9871-2 , p. 82.
  10. ↑ Student directory of the Free School Community Wickersdorf. In: Archives of the German youth movement , Ludwigstein Castle near Witzenhausen in Hesse.
  11. ^ Directory of teachers of the Free School Community of Wickersdorf. In: Archives of the German youth movement, Ludwigstein Castle near Witzenhausen in Hesse.
  12. ↑ Departure of the youth. German youth movement between self-determination and seduction (PDF file; 130 kB). Book accompanying the exhibition in the Germanisches Nationalmuseum , Nuremberg, from September 26, 2013 to January 19, 2014, in cooperation with the archive of the German youth movement. Verlag des Germanisches Nationalmuseums, Nuremberg 2013, p. 45, on: uni-heidelberg.de
  13. ↑ Roswitha Mair: Käthe Kollwitz: A life against any convention. Novel biography . Herder, Freiburg 2017, ISBN 978-3-451-81206-4 , Chapter VII.
  14. ↑ a b c Yvonne Schymura: Käthe Kollwitz. Love, war and art . CH Beck, Munich 2016, ISBN 978-3-4066-9871-2 , pp. 101-103.
  15. ↑ Yvonne Schymura: Käthe Kollwitz: Love, War and Art . CH Beck, Munich 2016, ISBN 978-3-4066-9871-2 , p. 102 f.
  16. ↑ Dietmar Haubfleisch: Dr. Alfred Ehrentreich (1896–1998). Marburg 1999, on: uni-marburg.de
  17. ↑ Thomas Nipperdey : German History 1800–1966 , Volume 1: Citizens' World and Strong State , CH Beck, Munich 1983, p. 508.
  18. ^ Yvonne Schymura: Käthe Kollwitz. Love, war and art . Ch. H. Beck, Munich 2016, ISBN 978-3-4066-9872-9 , pp. 127, 147, 148, 149, 152.
  19. ↑ Peter Dudek: “Everything is a good average”? Impressions of the student body of the FSG Wickersdorf 1906–1945 . In: JHB 23rd Yearbook for Historical Educational Research 2017 . Julius Klinkhardt, Bad Heilbrunn 2018, ISBN 978-3-7815-2237-4 , pp. 234-279 (citation: p. 238).
  20. ↑ a b Ulrike Koch: "I found out about it from Fritz Klatt" - Käthe Kollwitz and Fritz Klatt . In: Käthe Kollwitz and her friends: Catalog for the special exhibition on the occasion of the 150th birthday of Käthe Kollwitz . Published by the Käthe-Kollwitz-Museum Berlin, Lukas Verlag, Berlin 2017, ISBN 978-3-8673-2282-9 , p. 65.
  21. ↑ a b c d e Sven Felix Kellerhoff: Home Front. The fall of the ideal world - Germany in the First World War . Bastei Lübbe, 2014, ISBN 978-3-8387-5621-9 .
  22. ↑ Berit Hempel: When she laughed, the whole body shook . In: Deutschlandfunk , July 8, 2017, on: deutschlandfunk.de
  23. ↑ a b Chantal Louis: She sent her son to his death . In: Emma , June 26, 2014, on: emma.de
  24. ↑ a b c Käthe Kollwitz and the First World War , lecture by Sven Felix Kellerhoff, February 23, 2015. In: Städtisches Käthe-Kollwitz-Gymnasium Munich, on: kkg.musin.de
  25. ↑ Peter Kollwitz goes to war (2.06 min.), ZDF, May 1, 2018.
  26. ↑ Peter Kollwitz: Dying for the Fatherland. The son of the artist Kathe Kollwitz in WW1 . In: ZDF, on: zdf.de
  27. ^ Letter from Käthe Kollwitz to the war volunteer Peter Kollwitz, Reservie-Infanterie-Regiment 207, postmarked Berlin NO, October 17, 1914.
  28. ^ Field post letter from Erich Krems to Gustav Wyneken, November 14, 1914. In: Archives of the German Youth Movement (AdJB), Ludwigstein Castle near Witzenhausen in Hesse, Wyneken estate, folder 658, signature N. 35.
  29. ↑ a b c d e Apocalypses at home and at the front (PDF file; 1.4 MB). In: Käthe Kollwitz Museum Cologne; Käthe Kollwitz, Die Tagebücher (excerpts), on: kollwitz.de
  30. ↑ a b c Gisbert Kuhn: The stone suffering of Käthe Kollwitz (PDF file; 281 kB). In: Konrad-Adenauer-Stiftung, on: kas.de
  31. ^ Fritz Böttger: To New Shores: Women's Letters from the Middle of the 19th Century to the November Revolution of 1918 . Verlag der Nation, Berlin 1981, p. 542.
  32. ↑ Hans Kollwitz (Ed.): The Diary and Letters of Kaethe Kollwitz . Northwestern University Press, Evanston, Illinois, 1988, ISBN 978-0-8101-0761-8 , p. 144.
  33. ^ Letter from Käthe Kollwitz dated May 1915 to her son Hans Kollwitz.
  34. ↑ According to written information, the photograph of Käthe Kollwitz reclining dead soldier from 1915/16 is not made available to Wikipedia for reasons of copyright: Landesarchiv Berlin, photo collection LAB IV Ba, Gz: IV Ba - 9221, Monika Bartzsch, October 4, 2018 .
  35. ↑ Lying dead soldier . In: Käthe Kollwitz Museum Cologne, on kollwitz.de
  36. ↑ Yvonne Schymura: Käthe Kollwitz: Love, War and Art . CH Beck, Munich 2016, ISBN 978-3-4066-9871-2 , pp. 148-149.
  37. ↑ Jutta Bohnke-Kollwitz (Ed.): Käthe Kollwitz. The diaries. 1908-1943 . btb Verlag, Berlin 1989, ISBN 978-3-4427-3683-6 , p. 279.
  38. ↑ Die Freiwilligen , sheet 2 of the series War . In: Käthe Kollwitz Museum Cologne, on: kollwitz.de
  39. ^ Käthe Kollwitz: Follow War . In: Käthe-Kollwitz-Museum Cologne , on: kollwitz.de
  40. ^ "Die Freiwilligen", sheet 2 of the series "War", 1921/22, woodcut, Kn 173 (Kl 178), Verwertungsgesellschaft Bild-Kunst , Bonn 2005.
  41. ↑ Chronology: Peter Kollwitz fell on October 23, 1914, Erich Krems on March 10, 1916, Richard Noll on September 27, 1916, then Walter Meier, finally Julius Hoyer and Gottfried Laessig, both in November 1918. Hans Koch was the only one to survive Friends; he was seriously wounded and discharged from service in the summer of 1915.
  42. ↑ Alexandra von dem Knesebeck, Käthe Kollwitz: Catalog Raisonné of Her Prints . Kornfeld, Bern 2002, cat.-no. 173, p. 515.
  43. ^ Claire C. Whitner (Ed.): Käthe Kollwitz and the Krieg Cycle . In: ders .: Käthe Kollwitz and the Women of War: Femininity, Identity, and Art in Germany During World Wars I and II . Yale University Press, New Haven. Connecticut, 2016, ISBN 978-0-3002-1999-9 , p. 104.
  44. ↑ Reiner Oschmann: Peter and the Pietà . In: Neues Deutschland , October 22, 2014, at: neue-deutschland.de
  45. ↑ a b Silke Ballweg: The life of Käthe Kollwitz . In: Deutschlandfunk, January 30, 2017, on: deutschlandfunk.de
  46. ^ Klaus Hammer: Passionate sculptor . In: Literaturkritik.de, on: literaturkritik.de
  47. ↑ Regina Schulte: The wrong world of war: Studies on gender, religion and death . Campus Verlag, Frankfurt am Main 1998, ISBN 978-3-5933-6112-3 , p. 129.
  48. ^ Käthe Kollwitz (1867–1945) . In: Staatsgalerie Stuttgart, Digital Collection, on: staatsgalerie.de
  49. ^ Pietà . In: Käthe Kollwitz Museum Cologne, on: kollwitz.de
  50. ^ Käthe Kollwitz: Diary entry from October 22, 1937.
  51. ^ Käthe Kollwitz: Diary entry from December 1939.
  52. ↑ Willem Vermandere: Vladslo , Flemish lyrics and German translation, on: songtext-ubersetzung.com
  53. ↑ Ingrid Poss, Peter Warnecke: Trace of Films: Contemporary Witnesses on DEFA . Ch. Links Verlag, Berlin 2006, ISBN 978-3-86153-401-3 , p. 425.
personal data
SURNAME Kollwitz, Peter
BRIEF DESCRIPTION German "Wandervogel" and soldier
DATE OF BIRTH February 6, 1896
PLACE OF BIRTH Berlin
DATE OF DEATH October 23, 1914
Place of death Esen near Diksmuide , Belgium