Born in Russia under the maiden name Schmidt, Käthe Kollwitz studied art in Berlin. There she met and married Dr. Karl Kollwitz, who ran a children’s clinic in a poverty-stricken neighborhood. This environment stemmed the social messages in Kollwitz’s paintings. She created a monument in Flanders to the soldiers who died in World War I, after her son was killed in battle. In 1928, Kollwitz was the first woman to admitted to the Prussian Academy of Arts, but the Nazis forced her withdrawal in 1933. Ten years later, most of her work was destroyed in an air raid. However, from what was left of her powerfully social works, she is remembered for her carvings and bronze sculpture. One of the greatest graphic artists of all time, Kollwitz, the granddaughter of a radical preacher and the daughter of a union organizer, a pacifist, a lover of children, and a socialist, spent her life in an autocratic state which, whether ruled by the Kaiser or the Nazis, hated everything for which she stood. The two prints shown at German Expressionism—Der Agitationsredner / The Agitator (Kl. 224) and Verbrüderung / Fraternal love (Kl. 199b)—seem to sum up the possibilities that Kollwitz foresaw for her country in the 1920s, either to follow those voices inciting hatred and setting each against the other or to find a way for all to live together in loving harmony. Kollwitz’s art shows us one who responded to her country’s choice with anguished protest, as if each print might finally be the one to bring Germany back to her senses.