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HOMEPAGE – KÄTHE KOLLWITZ MUSEUM KÖLN The Käthe Kollwitz Museum is temporarily closed. We hope to welcome you back soon and are already looking forward to your visit! Welcome to the Käthe Kollwitz Museum online.

SCULPTURAL WORK

The Sculptural Work. Käthe Kollwitz is not only known as a printmaker, but has also made a name for herself as a sculptress. 19 sculptural works out of a total of 43 have been preserved, 15 of which have been copied in bronze. Käthe Kollwitz was almost 37 years old when she turned her attention to sculpting and enrolled in an

eight-week

SELF PORTRAITS

At the Käthe Kollwitz Museum in Cologne, there are more than 30 self-portraits, which form one of the focal points of the collection. These works include some of her earliest self-portraits that can be dated to the period in Munich where she studied at an art academy (1888-1890). Her last graphic self-portrait, dated 1938, and one of

only

SERIES »WAR«

Käthe Kollwitz, from a Letter to Romain Rolland, October 1922, in: Letters of Friendship. As hardly any other artist, Käthe Kollwitz examined the First World War and its repercussions after her younger son Peter fell as a volunteer on 22 October 1914. Her war series, finished only in 1923, has autobiographical traits and illustrates the CYCLE »PEASANTS WAR« In social democratic circles, the Peasants War of 1524/1525 was regarded as the quintessential starting point of a revolutionary tradition and the paradigm of the fight for freedom. Initially Käthe Kollwitz planned to execute the cycle as a series of colour lithographs. This plan was probably inspired by her first stay in

Paris in 1901.

BIOGRAPHIE – KÄTHE KOLLWITZ MUSEUM KÖLNTRANSLATE THIS PAGESEE MORE

ON KOLLWITZ.DE

CYCLE »A WEAVERS’ REVOLT« Profoundly impressed by the premiere of Hauptmann’s play »The Weavers« at the Freie Bühne theatre, Käthe Kollwitz started work on her cycle »A Weavers’ Revolt« in 1893 and abandoned her project to create a series on Zola’s novel »Germinal«, which she had already begun.The success of the premiere was spectacular and the audience was

deeply moved.

WOMAN WITH DEAD CHILD, KN 81 Woman with dead Child, 1903. Line etching, drypoint, sandpaper and soft ground with imprint of ribbed laid paper and Ziegler's transfer paper, Kn 81 VIII a. During her work on the 6 th sheet of the Peasants War« cycle, Käthe Kollwitz made several drawings that she used in preparation for the sheet »Woman with Dead Child« which she

decided

PLANCHE 1 »LE SACRIFICE«, KN 179 Le Sacrifice, planche 1 de la série »Guerre«, 1922. Gravure sur bois, Kn 179 IX c. Sur la première planche, une femme offre son enfant en sacrifice. La femme est nue et sans défense. Elle ferme les yeux et signale ainsi qu’elle sacrifie aveuglément son enfant, autrement dit qu’elle agit par ignorance. DEATH, WOMAN AND CHILD, KN 108 Death, Woman and Child, 1910. Line etching, drypoint, sandpaper and vernis mou with imprint of laid paper and Ziegler's transfer paper, Kn 108 XIII. In several works that were created in connection with Hans' diphtheria infection in 1908, the figure of the mother has some features of the artist herself, such as in this etching. HOMEPAGE – KÄTHE KOLLWITZ MUSEUM KÖLN The Käthe Kollwitz Museum is temporarily closed. We hope to welcome you back soon and are already looking forward to your visit! Welcome to the Käthe Kollwitz Museum online.

SCULPTURAL WORK

The Sculptural Work. Käthe Kollwitz is not only known as a printmaker, but has also made a name for herself as a sculptress. 19 sculptural works out of a total of 43 have been preserved, 15 of which have been copied in bronze. Käthe Kollwitz was almost 37 years old when she turned her attention to sculpting and enrolled in an

eight-week

SELF PORTRAITS

At the Käthe Kollwitz Museum in Cologne, there are more than 30 self-portraits, which form one of the focal points of the collection. These works include some of her earliest self-portraits that can be dated to the period in Munich where she studied at an art academy (1888-1890). Her last graphic self-portrait, dated 1938, and one of

only

SERIES »WAR«

Käthe Kollwitz, from a Letter to Romain Rolland, October 1922, in: Letters of Friendship. As hardly any other artist, Käthe Kollwitz examined the First World War and its repercussions after her younger son Peter fell as a volunteer on 22 October 1914. Her war series, finished only in 1923, has autobiographical traits and illustrates the CYCLE »PEASANTS WAR« In social democratic circles, the Peasants War of 1524/1525 was regarded as the quintessential starting point of a revolutionary tradition and the paradigm of the fight for freedom. Initially Käthe Kollwitz planned to execute the cycle as a series of colour lithographs. This plan was probably inspired by her first stay in

Paris in 1901.

BIOGRAPHIE – KÄTHE KOLLWITZ MUSEUM KÖLNTRANSLATE THIS PAGESEE MORE

ON KOLLWITZ.DE

CYCLE »A WEAVERS’ REVOLT« Profoundly impressed by the premiere of Hauptmann’s play »The Weavers« at the Freie Bühne theatre, Käthe Kollwitz started work on her cycle »A Weavers’ Revolt« in 1893 and abandoned her project to create a series on Zola’s novel »Germinal«, which she had already begun.The success of the premiere was spectacular and the audience was

deeply moved.

WOMAN WITH DEAD CHILD, KN 81 Woman with dead Child, 1903. Line etching, drypoint, sandpaper and soft ground with imprint of ribbed laid paper and Ziegler's transfer paper, Kn 81 VIII a. During her work on the 6 th sheet of the Peasants War« cycle, Käthe Kollwitz made several drawings that she used in preparation for the sheet »Woman with Dead Child« which she

decided

PLANCHE 1 »LE SACRIFICE«, KN 179 Le Sacrifice, planche 1 de la série »Guerre«, 1922. Gravure sur bois, Kn 179 IX c. Sur la première planche, une femme offre son enfant en sacrifice. La femme est nue et sans défense. Elle ferme les yeux et signale ainsi qu’elle sacrifie aveuglément son enfant, autrement dit qu’elle agit par ignorance. DEATH, WOMAN AND CHILD, KN 108 Death, Woman and Child, 1910. Line etching, drypoint, sandpaper and vernis mou with imprint of laid paper and Ziegler's transfer paper, Kn 108 XIII. In several works that were created in connection with Hans' diphtheria infection in 1908, the figure of the mother has some features of the artist herself, such as in this etching. COLLECTION – KÄTHE KOLLWITZ MUSEUM KÖLN The world’s largest Kollwitz collection. After more than 35 years of active collecting, the Käthe Kollwitz Museum in Cologne now boasts more than 300 drawings, over 550 prints, all the artist’s posters as well as her entire sculptural work. Among the drawings – one of the museum’s focal points – there are some of the most expressive BIOGRAPHY – KÄTHE KOLLWITZ MUSEUM KÖLN Käthe Schmidt aged 5, 1872. 1867 Käthe Kollwitz, née Schmidt, was born on 8 July 1867 in Königsberg (modern day Kaliningrad) as the fifth child of Carl Schmidt and Katharina Schmidt, née Rupp. 1881–1886 Her father became aware of the artistic skills of his daughter. It was thanks to him that she was educated to become an artist. Käthe Schmidt had her first art lessons in Königsberg BIOGRAPHIE – KÄTHE KOLLWITZ MUSEUM KÖLNTRANSLATE THIS PAGE Käthe Schmidt à 5 ans, 1872. 1867 Käthe Kollwitz, née Schmidt, vient au monde le 8 juillet 1867 à Königsberg en Prusse Orientale. Elle est le cinquième enfant de Carl Schmidt (1825-1898) et Katharina Schmidt, née Rupp (1837-1925). 1881–1886 Son père décèle les prédispositions de sa fille pour le dessin. Elle lui doit sa formation d’artiste. MOTHERS AND CHILDREN Mothers and Children. Children play an important role in the work of Käthe Kollwitz. Being a mother was one of her central life experiences. The artist discussed her difficulties in reconciling her professional activities with her family life with the writer Lou

Andreas-Salomé.

INSPIRATION, KN 86

Inspiration, 1904. Line etching, drypoint, reservage, sandpaper and soft ground with imprint of laid paper, Kn 86 VII d. The folio Inspiration«, created in 1904 is a rejected version for the third sheet of the »Peasants War« cycle – »Sharpening the Scythe«. Behind the peasant woman, we see a crouching, allegorical male figure.

SHEET 1 »NEED«

Need, sheet 1. of the cycle »A Weavers’ Revolt«, 1893-1897. Crayon and pen lithograph with scratch technique, Kn 33 II. The first folio confronts the observer with the silent despair of a mother who bends over her sick child that already bears the stamp of death. The child lies in the only bed of the weaver’s family in a room that serves DEATH, WOMAN AND CHILD, KN 108 Death, Woman and Child, 1910. Line etching, drypoint, sandpaper and vernis mou with imprint of laid paper and Ziegler's transfer paper, Kn 108 XIII. In several works that were created in connection with Hans' diphtheria infection in 1908, the figure of the mother has some features of the artist herself, such as in this etching. POSTER »THE SURVIVORS«, KN 197 Poster »The Survivors«, 1923. Crayon and brush lithograph with scratch technique (transfer), Kn 197 II b. In 1922 Käthe Kollwitz received a commission from the International Trade Union Confederation for a poster for the first international anti-war day in 1924. In a letter to her friend Beate Bonus-Jeep, the artist commented on this

work

FEMME AVEC ENFANT MORT, KN 81 Femme avec enfant mort, 1903. Eau-forte, pointe sèche, émeri et vernis mou avec impression de papier vergé et de papier report de Ziegler, Kn 81 VIII a. Pendant son travail sur la sixième planche du cycle »Guerre des paysans«, Käthe Kollwitz a développé dans plusieurs dessins pour »Femme avec enfant mort« une feuille

qu’elle n

BROT! – KÄTHE KOLLWITZ MUSEUM KÖLNTRANSLATE THIS PAGE Die Lithographie »Brot!« ist eine der bekanntesten Arbeiten von Käthe Kollwitz aus den 1920er Jahren. Sie erscheint 1924, zum 10. Jahrestag des Ausbruchs des Ersten Weltkrieges, in der von der ›Internationalen Arbeiterhilfe‹ (IAH) herausgegebenen Mappe Hunger« mit sieben Originallithographien z. B. von Otto Dix, George Grosz und Heinrich Zille. HOMEPAGE – KÄTHE KOLLWITZ MUSEUM KÖLNKATHE KOLLWITZ MUSEUM COLOGNEKATHE KOLLWITZ BIOGRAPHYKATHE KOLLWITZ LITHOGRAPHSKATHE KOLLWITZ PRINTSKATHE KOLLWITZ SCULPTUREKATHE KOLLWITZ THE MOTHERS The Käthe Kollwitz Museum is temporarily closed. We hope to welcome you back soon and are already looking forward to your visit! Welcome to the Käthe Kollwitz Museum online. STARTSEITE – KÄTHE KOLLWITZ MUSEUM KÖLNTRANSLATE THIS PAGE Mit dem weltweit umfangreichsten Bestand an Werken der Künstlerin sieht das Käthe Kollwitz Museum Köln seinen Auftrag unter anderem auch darin, einen neuen Zugang zu ihrem Œuvre zu eröffnen und den hohen künstlerischen Gehalt ihres Schaffens in Zeichnung, Graphik und Skulptur zu verdeutlichen. Material und Infos für den

Schulunterricht.

EXHIBITIONS-OVERVIEW Exhibitons at the Käthe Kollwitz Museum Köln. Please note. As of June 1, a visit to the museum is permitted with advance reservation, in accordance with official regulations.

SELF PORTRAITS

At the Käthe Kollwitz Museum in Cologne, there are more than 30 self-portraits, which form one of the focal points of the collection. These works include some of her earliest self-portraits that can be dated to the period in Munich where she studied at an art academy (1888-1890). Her last graphic self-portrait, dated 1938, and one of

only

POSTERS - OVERVIEW

Posters. Käthe Kollwitz only created a total of 14 posters. Among them, though, are some of her best-known works, such as the lithograph Never Again War« which was an icon of the peace movement well into the 1980s. Her first two works, the »Poster for the Cottage Industry Exhibition« from 1906 and »For Greater Berlin« from 1912

SERIES »WAR«

Käthe Kollwitz, from a Letter to Romain Rolland, October 1922, in: Letters of Friendship. As hardly any other artist, Käthe Kollwitz examined the First World War and its repercussions after her younger son Peter fell as a volunteer on 22 October 1914. Her war series, finished only in 1923, has autobiographical traits and illustrates the CYCLE »PEASANTS WAR« In social democratic circles, the Peasants War of 1524/1525 was regarded as the quintessential starting point of a revolutionary tradition and the paradigm of the fight for freedom. Initially Käthe Kollwitz planned to execute the cycle as a series of colour lithographs. This plan was probably inspired by her first stay in

Paris in 1901.

CYCLE »A WEAVERS’ REVOLT« Profoundly impressed by the premiere of Hauptmann’s play »The Weavers« at the Freie Bühne theatre, Käthe Kollwitz started work on her cycle »A Weavers’ Revolt« in 1893 and abandoned her project to create a series on Zola’s novel »Germinal«, which she had already begun.The success of the premiere was spectacular and the audience was

deeply moved.

PLANCHE 1 »LE SACRIFICE«, KN 179 Le Sacrifice, planche 1 de la série »Guerre«, 1922. Gravure sur bois, Kn 179 IX c. Sur la première planche, une femme offre son enfant en sacrifice. La femme est nue et sans défense. Elle ferme les yeux et signale ainsi qu’elle sacrifie aveuglément son enfant, autrement dit qu’elle agit par ignorance. PLAKAT »DIE ÜBERLEBENDEN« Plakat »Die Überlebenden«, 1923. Kreide- und Pinsellithographie sowie Schabnadel (Umdruck), Kn 197 II b. 1922 erhält Käthe Kollwitz die Aufforderung des Internationalen Gewerkschaftsbundes, ein Plakat für den ersten internationalen Antikriegstag 1924 zu schaffen. In einem Brief an ihre Freundin Beate Bonus-Jeep äußert sich die HOMEPAGE – KÄTHE KOLLWITZ MUSEUM KÖLNKATHE KOLLWITZ MUSEUM COLOGNEKATHE KOLLWITZ BIOGRAPHYKATHE KOLLWITZ LITHOGRAPHSKATHE KOLLWITZ PRINTSKATHE KOLLWITZ SCULPTUREKATHE KOLLWITZ THE MOTHERS The Käthe Kollwitz Museum is temporarily closed. We hope to welcome you back soon and are already looking forward to your visit! Welcome to the Käthe Kollwitz Museum online. STARTSEITE – KÄTHE KOLLWITZ MUSEUM KÖLNTRANSLATE THIS PAGE Mit dem weltweit umfangreichsten Bestand an Werken der Künstlerin sieht das Käthe Kollwitz Museum Köln seinen Auftrag unter anderem auch darin, einen neuen Zugang zu ihrem Œuvre zu eröffnen und den hohen künstlerischen Gehalt ihres Schaffens in Zeichnung, Graphik und Skulptur zu verdeutlichen. Material und Infos für den

Schulunterricht.

EXHIBITIONS-OVERVIEW Exhibitons at the Käthe Kollwitz Museum Köln. Please note. As of June 1, a visit to the museum is permitted with advance reservation, in accordance with official regulations.

SELF PORTRAITS

At the Käthe Kollwitz Museum in Cologne, there are more than 30 self-portraits, which form one of the focal points of the collection. These works include some of her earliest self-portraits that can be dated to the period in Munich where she studied at an art academy (1888-1890). Her last graphic self-portrait, dated 1938, and one of

only

POSTERS - OVERVIEW

Posters. Käthe Kollwitz only created a total of 14 posters. Among them, though, are some of her best-known works, such as the lithograph Never Again War« which was an icon of the peace movement well into the 1980s. Her first two works, the »Poster for the Cottage Industry Exhibition« from 1906 and »For Greater Berlin« from 1912

SERIES »WAR«

Käthe Kollwitz, from a Letter to Romain Rolland, October 1922, in: Letters of Friendship. As hardly any other artist, Käthe Kollwitz examined the First World War and its repercussions after her younger son Peter fell as a volunteer on 22 October 1914. Her war series, finished only in 1923, has autobiographical traits and illustrates the CYCLE »PEASANTS WAR« In social democratic circles, the Peasants War of 1524/1525 was regarded as the quintessential starting point of a revolutionary tradition and the paradigm of the fight for freedom. Initially Käthe Kollwitz planned to execute the cycle as a series of colour lithographs. This plan was probably inspired by her first stay in

Paris in 1901.

CYCLE »A WEAVERS’ REVOLT« Profoundly impressed by the premiere of Hauptmann’s play »The Weavers« at the Freie Bühne theatre, Käthe Kollwitz started work on her cycle »A Weavers’ Revolt« in 1893 and abandoned her project to create a series on Zola’s novel »Germinal«, which she had already begun.The success of the premiere was spectacular and the audience was

deeply moved.

PLANCHE 1 »LE SACRIFICE«, KN 179 Le Sacrifice, planche 1 de la série »Guerre«, 1922. Gravure sur bois, Kn 179 IX c. Sur la première planche, une femme offre son enfant en sacrifice. La femme est nue et sans défense. Elle ferme les yeux et signale ainsi qu’elle sacrifie aveuglément son enfant, autrement dit qu’elle agit par ignorance. PLAKAT »DIE ÜBERLEBENDEN« Plakat »Die Überlebenden«, 1923. Kreide- und Pinsellithographie sowie Schabnadel (Umdruck), Kn 197 II b. 1922 erhält Käthe Kollwitz die Aufforderung des Internationalen Gewerkschaftsbundes, ein Plakat für den ersten internationalen Antikriegstag 1924 zu schaffen. In einem Brief an ihre Freundin Beate Bonus-Jeep äußert sich die STARTSEITE – KÄTHE KOLLWITZ MUSEUM KÖLNTRANSLATE THIS PAGE Mit dem weltweit umfangreichsten Bestand an Werken der Künstlerin sieht das Käthe Kollwitz Museum Köln seinen Auftrag unter anderem auch darin, einen neuen Zugang zu ihrem Œuvre zu eröffnen und den hohen künstlerischen Gehalt ihres Schaffens in Zeichnung, Graphik und Skulptur zu verdeutlichen. Material und Infos für den

Schulunterricht.

COLLECTION – KÄTHE KOLLWITZ MUSEUM KÖLN The world’s largest Kollwitz collection. After more than 35 years of active collecting, the Käthe Kollwitz Museum in Cologne now boasts more than 300 drawings, over 550 prints, all the artist’s posters as well as her entire sculptural work. Among the drawings – one of the museum’s focal points – there are some of the most expressive

SCULPTURAL WORK

The Sculptural Work. Käthe Kollwitz is not only known as a printmaker, but has also made a name for herself as a sculptress. 19 sculptural works out of a total of 43 have been preserved, 15 of which have been copied in bronze. Käthe Kollwitz was almost 37 years old when she turned her attention to sculpting and enrolled in an

eight-week

SERIES »WAR«

Käthe Kollwitz, from a Letter to Romain Rolland, October 1922, in: Letters of Friendship. As hardly any other artist, Käthe Kollwitz examined the First World War and its repercussions after her younger son Peter fell as a volunteer on 22 October 1914. Her war series, finished only in 1923, has autobiographical traits and illustrates the BIOGRAFIE – KÄTHE KOLLWITZ MUSEUM KÖLNTRANSLATE THIS PAGE 1887–1888 Käthe Schmidt kehrt nach Königsberg zurück und erhält Unterricht bei dem Maler Emil Neide (1843–1908). Der Königsberger Historien–, Genre- und Bildnismaler ist in Ostpreußen ein anerkannter Historienmaler. Er arbeitet an der Ausschmückung der Königsberger Universitätsaula und der Aulen mehrerer Gymnasien in Insterburg und Königsberg mit, wo er mit mythologischen WOMAN WITH DEAD CHILD, KN 81 Woman with dead Child, 1903. Line etching, drypoint, sandpaper and soft ground with imprint of ribbed laid paper and Ziegler's transfer paper, Kn 81 VIII a. During her work on the 6 th sheet of the Peasants War« cycle, Käthe Kollwitz made several drawings that she used in preparation for the sheet »Woman with Dead Child« which she

decided

SHEET 2 »RAPED«

Raped, sheet 2 of the cycle »Peasants War«, 1907/1908. Line etching, drypoint, sandpaper, reservage and soft ground with imprint of fabric and Ziegler's transfer paper, Kn 101 V a. The second stage in the pictorial narrative serves to illustrate the need for a change in the peasants’ situation by intensifying the emotional aspect. FOLGE KRIEG ÜBERSICHT Übersicht: Käthe Kollwitz - Die Folge »Krieg«, 1918-1922/23 ZYKLUS EIN WEBERAUFSTAND Zyklus »Ein Weberaufstand«, 1893–1897. 1893 erlebt Käthe Kollwitz die Uraufführung des umstrittenen Dramas »Die Weber« von Gerhart Hauptmann an der Freien Bühne in Berlin. Der Erfolg der Premiere ist sensationell, die Ergriffenheit der Besucher beispiellos. Das Verhalten der Zensurbehörden - das Drama wird von staatlicher Seite

als

BLATT 6 »DIE MÜTTER« Die Mütter. , Blatt 6 der Folge »Krieg«, 1921/22. Holzschnitt, Kn 176 III. Die Mütter halten in diesem Blatt ihre zum Teil hervorlugenden Kinder zurück, um sie nicht mehr für den Krieg herzugeben. Anders als auf den vorangegangenen verworfenen Fassungen, bei denen die Mütter mit ihren Kindern in den Armen nebeneinander

stehend gezeigt

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AKTUELL

Herzlich willkommen! WIR HABEN WIEDER FÜR SIE GEÖFFNET! Ab 1. Juni ist ein Museumsbesuch entsprechend der aktuellen Corona-Schutzverordnung mit Voranmeldung gestattet. Ab sofort bieten wir Ihnen die Möglichkeit zur Reservierung Ihres Besuchstermins online an. Der Nachweis eines negativen Coronatests oder ein Impfnachweis ist nicht erforderlich. Wir freuen uns auf Ihren Besuch! 21. Mai - 15. August 2021 FRIEDRICH SEIDENSTÜCKER –

LEBEN IN DER STADT

Der Fotograf Friedrich Seidenstücker zählt zu den bedeutenden Chronisten des Alltagslebens in der Weimarer Republik. Mit der Ausstellung von mehr als 100 seiner Aufnahmen aus den 1920er bis 1940er Jahren laden wir Sie dazu ein, den »Momentknipser« auf seinen Spaziergängen durch das Berlin vor 100 Jahren zu begleiten. Die weltweit umfangreichste Kollwitz-Sammlung DIE KÖLNER KOLLWITZ SAMMLUNG Ein Überblick über die Hauptwerke der Künstlerin in der Ständigen

Sammlung

Das Käthe Kollwitz Museum online

360° RUNDGANG

Wir laden Sie ein, die ständige Sammlung in einem virtuellen Ausstellungsbesuch zu entdecken. Neue Einblicke in das Werk von Käthe Kollwitz DIE KÖLNER KOLLWITZ-FORSCHUNG Mit dem weltweit umfangreichsten Bestand an Werken der Künstlerin sieht das Käthe Kollwitz Museum Köln seinen Auftrag unter anderem auch darin, einen neuen Zugang zu ihrem Œuvre zu eröffnen und den hohen künstlerischen Gehalt ihres Schaffens in Zeichnung, Graphik und Skulptur zu verdeutlichen. Material und Infos für den Schulunterricht HAVE A DATE WITH KATE! In Zeiten von Homeschooling und digitalem Unterricht haben wir für alle Lehrer*innen Infomaterial, Aufgabenblätter und Quizze zusammengestellt. Als außerschulischer Lernort laden wir Schüler*innen aller Jahrgansstufen ein, Leben und Werk von Käthe Kollwitz kennenzulernen - bald hoffentlich auch wieder bei uns im

Museum!

ADRESSE

Käthe Kollwitz Museum Köln Neumarkt 18-24 / Neumarkt Passage

50667 Köln

+49 (0)221 227 2899

+49 (0)221 227 2602

museum@197207b6c2e14a33a89206f2b8d7f638kollwitz.de

ÖFFNUNGSZEITEN

Di bis So

11 - 18 Uhr

Feiertage

11 - 18 Uhr

Erster Do im Monat

11 - 20 Uhr

Montags

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BITTE BEACHTEN SIE

Ab 1. Juni ist ein Museumsbesuch entsprechend der aktuellen Corona-Schutzverordnung mit Voranmeldung endlich wieder gestattet. Ab sofort bieten wir Ihnen die Möglichkeit zur Reservierung Ihres Besuchstermins online an. Zur Online-Reservierung Käthe Kollwitz Museum Köln 2021

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