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 Kahlo, Frida, Mexico,1907-1954• Frida Kahlo: LIfe Portrait Frida Kahlo and Diego - photo  • NMWA | artists index | Frida Kahlo profile • Frida Kahlo: bio and links • "Frida, Diego and Emmy Lou" • CGFA | fridakahlo.com/ • ArtChive  Self Portrait, oil/canvas |
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Kamihira, Ben, USA, 1925-2004 • The More Gallery • Wayne Art Center • Realism in Pennsylvania Painting 1950-2000 • The Glove, 1972-73, oil on canvas Self Portrait with Gray Sweater (detail)1985, oil painting, 20" x 24" |
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| Kandinsky, Vasily, Russia, 1844-1944 • WebMuseum, Paris |
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Kantor, Morris, Russia, 1896- USA,1974 WPA artists• Abstract Figure (1 of 10 drawings) Self Portrait, 1918. oil/canvas
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Kassan, David Jon • David Jon Kasson webpage  S.P., (self portrait) |
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Katz, Alex, USA • HomePage • interview Passing (self portrait), 1990, silkscreen, 32.5" x 36" |
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Kehoe, Catherine USA, • Concord Art Association • Catherine Kehoe at MIT • Howard Yexerski Gallery • Golden Foundation for the Arts Mien (self portrait - detail) 2002, oil/wood, 8" x 8" |
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| Kelly Barrette Fine Art, Boston, MA | ||
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Kent, Rockwell, USA, 1882-1971 WPA artists • Hail and Farewell, 1930, wood engraving • Thomas Stevens Gallery • Self Portrait, Reading in Winter 1930-35 Self Portrait (It's Me O Lord), 1934, lithograph |
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Kentridge, William, South Africa William Kentridge Webpage  • High Art Animation mov • Deutsche Guggenheim • Animation World Network Torn self-portrait (detail)2003, charcoal & color pencil on paper • Books: William Kentridge | William Kentridge Weighting...and Wanting | Black Box Self Portrait State V (2007) etching
 Self-Portrait, (Testing the Library), 1998  His Majesty, the Nose (stills), from the installation "I am not me, the horse is not mine" |
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 Kieslowski, Krzysztof, Poland, 1941-1996 selected film directors: Krzysztof Kieslowski DVD & Video Collection |
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| Kilford, Craig, UK [Couture Art] | ||
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Kirchner, Ernst Ludwig, Germany, 1880-1938 Woodcut Artists | Spaightwood Galleries • Nazis | Degenerate Artists | Exhibition Self Portrait, woodcut• Portrait of the Sculptor, Scherer 1923 • Self Portrait with Model 1910/1926 • ArtLex: Expressionism | artsMIA | |
| self-portraits press image to enlarge  flat cap, 1981  convex mirror, 1982  smiling 1982  reading, 1982  hand on chin, 1983  after Matteo, 1983  I and Thou oil on canvas, 1990-92  Self-portrait as a Cleveland Indian charcoal, 1994  The Artist, 1996 oil painting  Self portrait in red cap oil painting, nd  with red cap, (nd)  Self Portrait oil painting, 2007 SANDRA FISHER  Sandra Sleeping pencil, 1981  Sandra Fisher oil on canvas (nd) |
Kitaj, Ron B., USA, 1932-2007 "He draws better than almost anyone else alive." - Robert Hughes "I draw as well as any Jew who ever lived." - R.B. Kitaj R .B. Kitaj was born Ronald Brooks, in Cleveland Ohio, on October 29, 1932 to Jeanne Brooks and Sigmund Benway. His parents divorced when he was two years old. Jeanne Brooks supported herself and young Kitaj by working as a secretary at a steel mill. Kitaj's first art training came in the form of children's art school classes at the Cleveland Museum where he spent his Saturdays, while his mother worked. In 1941, Jeanne married Viennese refugee and research chemist, Walter Kitaj. Ronald adopted his stepfather's surname. - R.B. Kitaj papers Kitaj married his first wife, Elsi Roessler, in 1953. They had a son (Lem Dobbs) and adopted a daughter (Dominie). Elsi committeed suicide in 1969. In 1983 Kitaj married Sandra Fisher, they had a son (Max). Sandra died of a brain aneurysm in 1994. Kitaj died eight days before his 75th birthday, in Los Angeles, California on October 21, 2007. The Los Angeles County coroner's office determined that Kitaj's death was a suicide by suffocation - Kitaj had placed a plastic bag over his head - a note and an empty medicine bottle were nearby when one of Kitaj's sons discovered the 74-year-old painter dead at his home. "Kitaj stood for a sense of history, a belief in drawing and an intelligent modernism." - Jonathan Jones, The Guardian, UK The School of London KitajGEOCITIES.ws pantherorusa Ronald B. Kiaj self portrait reocities: Ronald B. Kitaj Human Clay• Exhibition: Draw draw is better than jaw jaw • Wikipedia WikiPaintings • Art Boobs • Legacy Project Kitaj • Kitaj malte sich im Jahr 1982 selbst • Kitaj dies at 74 • The Portrait Party • Marlborough Fine Art: Little Pictures • Leninimports: Kitaj • Kitaj at LA Louver | LA Pictures | drawings • Dialogue of Revenge • O Seculo Prodigioso: Kitaj | Freud | Bacon • The Buddha Diaries • Fernando O'Connor (see video of Kitaj) • Self-Portrait, hand on chin, 1983 • Self-portrait, smiling, 1982 • Self-portrait, reading, 1982 • Self-portrait, Papillion, 1983 aka Self-portrait (cold in Paris) • Self-portrait, flat cap, 1981 • Self-portrait, hand on chin, 1983 • Self portrait, 1991 • After Matteo, self-portrait, 1983 • The Artist, oil on canvas, 1996 • "For The Neo-Cubist Kitaj reworked a . . . portrait of one of his most intimate artist friends, David Hockney, which he had communced in 1976. The portrait as it stood was rare among his paintings in being charged with the directness of his drawings from life. Given his insistence at the time on the importance of life drawing of the human figure, and the closeness that he felt in this regard with his old friend Hockney, it is particularly striking that he decided to alter the image in this way rather than simply redrawing the fiure as the basis for a new work. He agrees that he deemed it necessary to the meaning of the painting to bring together the two spheres to which he and Hockney alike were most devoted: that of diret observation and that of the imagination. Kitaj explains that there were other reasons, too, for the particular nature of the alterations: 'I wished to indicate his neo-cubism by a kind of disjunction arranged in the classic cubist oval device. There are other aspects: the recent death of Isherwood (can you see a bent superimposed head bowed in death?) and a general gragic sense (AIDS) as countertheme in that exotic California, which was weighing on him - disjunction again.'" - R.B. KITAJ by Marco Livingstone (originally published by Phaidon Press, 1985) revised and expanded edition, Thames and Hudson, New York, 1992
". . . I began the portrait of Hockney in the 'seventies. I didn't care much for it, and it lay in storage for many years. In the later 'eighties, David described to me the death of his friend Isherwood in California. I took up the old portrait again and drew a kind of alter-figure across the original full-frontal one, with Chris Isherwood in mind. Like Hockney, and unlike me, he had been a very optimistic and sublime personality, so I made of them a sort of Cubist doppelganger, representing both life and death in the particular, widely perspectival California setting they made their own in exile and, I hope, in some harmony with David's recent neo-Cubist theory for pictures." - from R.B. Kitaj's statement in: Exhibition Road, 1988  Study for Kitaj in Jerusalem, 1981 by Kitaj's wife Sandra Fisher charcoal on paper 22 3/8" x 30 1/2" • Sandra Fisher art the N.Y. Studio School Artists OnLine: Sandra Fisher |
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"In 1969, Kitaj, then living in England, reproduced fifty book covers as a series of screen prints called "In Our Time." Kitaj's selection was idiosyncratic, but these were in fact some of his favourite books. "These covers have intrigued bibliophiles for decades, reminding us of a different era in book design, as well as in reading preferences - an era in which limited technical means were employed to produce designs often more stylized and adventurous than those commonly seen today." - Simon Fraser University Gallery  Title page. Ed. 150 (1969) In Our Time: Covers for a Small Library After the Life for the Most Part by R. B. Kitaj photo-mechanical photographic offset lithograph Edition: edition of 150 initialled and numbered 10 APs, 5 PPs and HCs some proofs initialled and/or signed portfolio case by Rudolf Rieser, Cologne comp 78.8 h x 57.6 w cm Accn No: NGA 80.2063.1 © R. B. Kitaj (courtesy Marlborough Fine Art) Collection of Scattergood-Moore • From a set of 50 prints and 1 title page entitled "In Our Time": • The tower by W.B. Yeats (1969) • Reklame durch das schaufenster Von Dr. Bruno H • Fighting the traffic in young girls • Intelligence Bulletin • Workers in the dawn George Gissing, Vol I • Vampyr Carl Tr. Dreyer • Coming of age in Samoa • The adding machine 1972 • Albyn or Scotland and the future. by C.M. Grieve • |
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Klee, Paul, Swiss, • Paul Klee Web Page Self Portrait, (detail) 1911, ink |
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| Kleitsch, Joseph, USA, 1885-1931 • Self-Portrait 1906 |
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Klinger, Max, Germany, 1857-1920 • Ein handschuh (A Glove) 1881, etchings/aquatints • Abduction • The Art Bin Magazine | About Klinger • The Print Room | Klinger • FunProx.com | Klinger | ArtRoots: German Artists Self Portrait, (detail) 1892 |
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Knipschild, Robert, USA, (1927 - 2004) photograph (detail) • B. Deemer Gallery Cincinnati's highly respected landscape painter Robert Knipschild was a native of Freeport, Ill. At 23, fresh from studies at the University of Wisconsin and Michigan's Cranbrook Academy of Art, the young artist was tapped by New York's Metropolitan Museum of Art for its prestigious "American Painting Today" show. . . Later he settled in Cincinnati, where he "taught painting and was head of graduate studies in art at the University of Cincinnati until his retirement in 1991. He is celebrated for his luminous, studio-constructed landscapes that blend pencil marks and paint in fugitive but unforgettable veils and layers." He had a retrospective at The Springfield Museum of Art Ohio during Spring of 2002. His paintings are handled by Deemer Gallery in Louisville and by Suzanna Terrill Gallery in Cincinnati." Louisville Scene  Mounds, oil on canvas, 16"x16" |
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| Knowledge Network • National Gallery of Art |
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Koh, Terence aka asianpunkboy () • kohbunny | main | asianpunkboy.com • Terry's Lair | bloggy • Peres Projects | Koh's Projects Self-portrait with Hershey Chocolate & Cum, 2003• Saatch Gallery • Secession, July 7-sept, 2005 • Artnet: The Bunny with Bite |
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Kokoschka, Oskar, Austria, 1886-1980 Spaightwood Galleries• ArtLex: Expressionism • ArtChive • Munch & Kokoschka self portraits 1908 7 1913) • Early Portraits from Vienna Self Portrait, 1913 oil, MOMA• Self Portrait, 1913-14 oil • Self-portrait (Fiesole), 1948 oil (more) • Self Portrait with Alma Mahler, 1913 oil • Self-Portrait, 1913 | Scholars Resource • Self Portrait, 1917 oil • Bride of the Wind, 1918 (portraits) • Self Portrait drawing (A&A: self portraits) Self Portrait of a 'Degenerate Artist', 1937 oilScottish National Gallery of Modern Art. |
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 Self-Portrait ca1893 about age 26 pen & gray black ink © The Met, NYC  self-portrait with head propped up 1889-91 pen & brush drawing  Self-portrait with Hand on Brow etching, 1910,  Self-portrait 1912 soft-ground etching (more)  Self Portrait woodcut, 1923  Self-portrait woodcut, 1924  Self-portrait profile, 1927  Käthe Kollwitz by Lotte Jacobi, c1930 enlarge  Self-portrait 1926-1932 bronze bust another view  Self-portrait 1934  Self-portrait lithograph, 1934  Self-portrait facing right, 1938 (age of 71) lithogralph  Lament 1938-40 (self-portrait) bronze relief |
Kollwitz, Käthe, Germany, 1867-1945
One of the greatest graphic artists of all time, Käthe Kollwitz (Kaethe Schmidt), 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. In 1890 she married Karl Kollwitz, a former medical student from her home-town, who after graduation had set up as a member of a subscription medical practice in the poorest part of Berlin. Here they spent the best part of their lives, in Käthe's case including the entire Nazi era - until driven out by the large-scale bombing of the city. The first woman to be elected professor at the Prussian Academy, she lost her position and was declared "persona non grata" in 1933, when Hitler came to power. The Kollwitz's lost their oldest son, Hans, from diphtheria at the end of 1908 and their youngest son Peter early in 1914 during WWI. Käthe 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." Kollwitz firmly believed that art should reflect the particular social conditions of the time in which one lives. The Nazis banned the public display of her work and her sculpture was removed from the Crown Prince's Palace by declaring: ". . . in the Third Reich mothers have no need to defend their children." • Käthe Kollwitz Museum Köln • Käthe Kollwitz Museum Berlin • Are "degenerate" • GermanExpressionism.com | Kollwitz bio • Self-portrait, 1898, color lithograph • Grief as a Destiny and as Grace • Art Academy • Self-Portrait, bronze bust • The Metropolitan Museum of Art • Spaightwood Galleries • MHS Art Gallery Mac • History of Art: Kathe Kollwitz • Clara: Database of Women Artists • Lesbian Walrus blogspot • Self Portrait 1923, woodcut • The Revolt of the Weavers:  Four Men in a Pub, 1892-93 Vier manner in der kniepe soft-ground etching and aquatint, 1892-93 collection of Scattergood-Moore In The Revolt of the Weavers Kollwitz explored one of the themes that interested her most, the desire of the oppressed and the powerless for freedom. The etching, Four men in a pub, while not part of the series, shows Kollwitz already thinking about the themes to be explored in it and could be, von Knesebeck suggests, an early version of Beratung / Conspiracy. After the success of The Weaver's Revolt, Kollwitz "conceived the idea for another major cycle, The Peasants' Revolt, which would explore the mistreatment of the oppressed, their growing resentment and outrage, their attempts to right the wrongs done them, and their ultimate destruction." Commissioned by the Association for Historical Art, Kollwitz began this new large-size series in 1902 and completed the seven large etchings in 1908. The result is one of the most powerful graphic series in the history of Western Art. In addition to the seven etchings in the series, she also executed two additional works, Aufruhr / Revolt (1899) and Inspiration (1905) that existed parallel to the series but were ultimately not included or exhibited with it." - Spaightwood Galleries  Aufruhr / Revolt, 1899 11.6 x 12.4 inches / 295 x 315mm etching, drypoint, aquatint, sandpaper & roulette collection of Scattergood-Moore sheet #1  Die Pfluger / The Plowman, 1907 12.4 x 17.88 inches / 315 x 454 mm etching and aquatint sheet #2  Vergewaltigt / Raped , 1904-05 16.22 x 20.83 inches / 564 x 297 mm etching, softground, sandpaper, drypoint, & aquatint sheet #3  Bein Dengeln / Sharpening the Scythe, 1905 11.73 x 11.73 inches / 298 x 298 mm etching, drypoint, sandpaper, aquatint & softground collection of Scattergood-Moore  Inspiration, 1906 22.2 x 11.7 inches / 564 x 297 mm sheet #4  Bewaffnung in einem Gewölbe, 1906 Arming in a Vault 19.57 x 12.88 inches / 497 x 327 mm etching, drypoint, aquatint & soft ground sheet #5  Losbruch / Charge aka Revolt, 1902/03 20.2 x 23.1 inches / 513 x 587 mm etching, drypoint, aquatint & softground collection of Scattergood-Moore Kollwitz wrote about Charge, "I consider this Peasants' War print to be my best work and I am rather happy about it." Nagel felt that Revolt was "the most powerful print in the whole series" and added "This is indeed a Revolt; it explodes off the page as the peasants surge forth, there is an unmistakeable determination to fight in their haggard faces. The woman in the foreground raises her arms to give the signal. Kathe once told me that she had portrayed herself in this woman. She wanted the signal to attack to come from her. . ." - Käthe Kollwitz by Otto Nagel (1971)
sheet #6  Schlachtfeld / After the battle, 1907 16.22 x 20.8 inches / 412 x 529 mm etching, drypoint, sandpaper, softground & aquatint this print dated 1921 in the right corner with von der Becke's Munich embossed seal collection of Scattergbood-Moore In this print of great tenderness and grief, a woman (her silhouette reminding us a a tombstone) is checking the battlefield for the fallen with a lantern - she is searching for her loved ones after the battle - the light from her lantern illuminates the face of a dead boy - could this dead body be her son?
sheet #7  Die Gefangenen / The Prisoners, 1908 12.9 x 16.9 inches / 327 x 428mm etching, drypoint, sandpaper & soft ground  Woman with Dead Child, 1910 etching "A mother, animal-like, naked, the light-colored corpse of her dead child between her thigh bones and arms, seeks with her eyes, with her lips, with her breath, to swallow back into herself the disappearing life that once belonged to her womb." - Beate Bonus-Jeep, friend of Kollwitz
 Tod, Frau und Kind, 1910 Death and Woman /self-portrait 15.5 x 15.4 inches / 393 x 391 mm etching, drypoint, sandpaper, soft ground  study for Tod, Frau und Kind, 1910 charcoal drawing  Tod, Frau und Kind, 1910 Death, woman, and child /self-portrait 15.5 x 15.4 inches / 393 x 391 mm line etching and sandpaper (press image to enlarge) The plate is on loan to The Kunstsammlung Akademie Berlin collection of Scattergood-Moore At the end of 1908 Käthe Kollwitz' older son Hans had contracted diphtheria and died soon after. Kollwitz became obsessed by this event and produced a series of drawings and echoing groom the years 1910/11. The self-portrait-like features of the etching leave no doubt that it refers to Kollwitz, however the boy is much younger than Hans. ". . . mother and child rest here cheek by cheek. The mother encloses her son in a firm embrace and holds his left hand. Against this woman, Death with his awkward, thin bony arm seems by no means the clear victor. . ." |
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 The Parents, 1922-23, woodcut   photograph © 2012 Christa Waegemann |
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