德國藝術家寇維茲（Kathe Kollwitz, nee Schmidt, 1867-1945）在過去的研究中，經常被粗略的歸入德國表現主義，對其作品的討論著重在當中的母親形象或探究可能隱含的政治立場，寇維茲版畫中對社會的關心雖被視為作品的特性，但缺乏深入的討論與分析，呈現出長年的創作中不同的關懷面向。本篇論文針對寇維茲四組版畫作品《織工起義》系列、《農民戰爭》系列、《戰爭》組畫、《死亡》組畫，分析寇維茲版畫作品中的社會關懷，從題材表現方式、構圖、風格的轉變，說明寇維茲創作在於展現其社會關懷且追求藝術性。在此四組版畫中《織工起義》委婉傳達的革命訊息，畫面上也保留傳統手法的精細描繪。《農民戰爭》則從構圖與畫面氣氛強調人民受壓迫的情形，寇維茲以較大膽、直接的方式，再度重申對社會的改革主張。見證第一次世界大戰所造成的痛苦之後，寇維茲轉而追求和平。極力壓抑個人的悲傷，以能表現強烈情緒的木刻版畫，向大眾呼籲唯有和平是解決問題的途徑。《死亡》組畫雖然顯現寇維茲對衰老、死亡將至的感傷，但從中歸納出平靜的死亡、具攻擊性的死亡、 看不見的死亡、被期待的死亡，可知他仍舊本於對人世的關懷，藝術風格簡約卻能完全呈現關懷的目標，是寇維茲創作生涯中最成熟的表現。從研究當中發現，寇維茲版畫創作不受個人經歷侷限，也並非政治立場的宣傳，是他一生對社會困境的關懷與同情。

Kathe Kollwitz (nee Schmidt, 1867-1945) was always viewed as an Expressionist. Most of the studies about her focused on the “ Mother” images or the potentially political stance about it in her art works. Although social concern has always been an important trait in Kollwitz’s works, the lack of a longitudinal and deeper analysis leaves many different aspects in her works remain unclear. This thesis focus on four sets of Kollwitz ‘s print works: Ein Weberaufstand, Bauernkrieg, Krieg, Tod. By means of analyzing the way of expressing the topics, the composition and the change of styles in her works, Kollwitz’ s social concerns and her pursuit of artistry were also revealed. Ein Weberaufstand is a more classical and sophisticated set of work, which conveys revolutionary messages in a mild way. The composition of Bauernskrieg and the ambience established in it portrays how people were oppressed. In this work, Kollwitz declared her social reform ideal in a bold and straightforward way. After the devastating World War I, Kollwitz repressed her grief and started to call for peace by creating woodcuts which can express strong feelings. Krieg is a sentimental set of work, which shows her worry about death and getting old. However, in analyzing the work, one can figure out that those death scenes contain different meanings: peaceful, aggressive, unrevealed and expected. Therefore, Kollwitz still held the concerns about humanity. Though the artistry of Krieg is simple, the social concerns lied in them can still be easily sensed. Thus, one can see that Kollwitz’s art works were not meant to express her own distress or become propaganda, but to manifest her lifelong concerns about the hardship of society.

參考書目

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中文譯書

Dube, Wolf-Dieter. 吳介禎等譯，《表現主義》，台北：遠流，1999。
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西文碩博士論文

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中文期刊文章

陳樹升，〈魯迅、中國新興版畫、台灣四零年代左翼版畫（上）〉，《臺灣美術》 11：4＝44，88.04，30-54。

西文期刊文章

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Radycki, J. Diane “ The Life of Lady Art Students: Changing Art Education at the Turn of the Century. ” Art Journal 42(1982): 9-13.
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書信

Kathe Kollwitz. “ Brief an Peter Halm. ” vom 28. Juli 1927. Ts. Kathe Kollwitz Museum, Klon.

中文電子出版品

“ 克萊因（夫人） ”。大英百科全書，2008。大英線上繁體中文版。
20081119 <http://wordpedia.eb.com/tbol/article?i=041114>.
“ 弗賴利格拉特”。 大英百科全書，2008。大英線上繁體中文版。20081008 <http://wordpedia.eb.com/tbol/article?i=099715>.
“ 閔采爾”。 大英百科全書，2009。 大英線上繁體中文版。20090606 <http://wordpedia.eb.com/tbol/article?i=051923>.

西文電子出版品

Katharina Mayer Haunton, et al. “ Prints. ” Grove Art Online. Oxford Art Online. 19 May. 2009 <http://www.oxfordartonline.com/subscriber/article/grove/art/T069624pg4>.
Josef Strasser. “ Piloty, Karl Theodor von. ” Grove Art Online. Oxford Art Online. 18 Feb. 2009 <http://www.oxfordartonline.com/subscriber/article/grove/art/T067679>.
“ peintre-graveur. ” The Concise Oxford Dictionary of Art Terms. Oxford Art Online. 28 Feb. 2009
<http://www.oxfordartonline.com/subscriber/article/opr/t4/e1279>.