For painting landscapes en plein air, Frank Vincent DuMond taught his students a method of pre-mixing color strings in stepped values, moving from light to the dark value by creating color “notes” analogous to musical keys.
Kollwitz’s art was both a response to the suffering of others and a processing of personal experience. For Kollwitz, character born of hardship was indistinguishable from—lo, was the necessary source of—beauty.
As all portrait artists know, there is something solemnly ceremonious about the full-profile position. We do not make eye contact—that being somehow beneath the authority of the subject—just as the set mouth seems to be not just momentarily, but eternally, silent.