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K�the Kollwitz and Paula Modersohn-Becker are the two most famous female artists in early twentieth-century Germany, but they were by no means alone: there are plenty of interesting women working alongside them. Gabriele M�nter, Jacoba van Heemskerck, and Marianne von Werefkin are just three of the more well-known names. As I've recently acquired two etchings by Kollwitz, I thought I'd post these alongside some work by other female artists of the period with less of a public profile. K�the Kollwitz was born K�the Schmidt in K�nigsberg in 1867. She made her initial studies at an art school for women in Berlin, where her teacher was Karl Stauffer-Bern; she then went to the Women's Art School in Munich. From 1891 she lived and worked in Berlin, where her husband Karl was a doctor. Kollwitz is widely recognised as one of the most important etchers of her day. Her art expresses a profound sympathy with the lives of the poor, as in her early masterworks for the series The Revolt

I've just discovered that the house of Hermann Struck in Haifa has this October been turned into the Hermann Struck Museum , with an opening exhibition of his etchings. I'm thrilled to think this brilliant and influential etcher is at last getting his due. So I thought I would share the Hermann Struck etchings I have. Struck was born in Berlin in 1876. His birth name was Chaim Aaron ben David, and his Jewish heritage is central to his work - most of the original works below have Hebrew inscriptions or Stars of David incised in the plate in drypoint. An early Zionist, Hermann Struck settled in Palestine, in what is now Haifa, Israel, in December 1922. All of my works date from before this time (although I give the date of his portrait of Chagall as 1923, that is the date of publication, and presumably the actual work was made in or around 1922). Evidently Struck had an active life as artist, mentor, and teacher in Israel, but I don't have any direct evidence of this to show.

You might not recognize the name of Marcellin Desboutin, but you would know him if you saw him in the street. His is the bearded, dishevelled face staring despairingly out at you from a table in the artists' caf� La Nouvelle Ath�nes in the painting   L'Absinthe (Dans un Caf�) by Edgar Degas. The women sitting next to him is the actress Ellen Andr�; like the rest of the Impressionists, Degas preferred to use members of his immediate social circle rather than paid models. Once you have committed Desboutin's face to memory, you will chance upon it again and again in works by Degas and other artists, including Manet, Monet, Renoir, and Falgui�re; often he is smoking a pipe. His tramp-like appearance made him the ideal sitter if you wanted to paint a down-and-out old drunk. Marcellin Desboutin, Desboutin dit � la bavette (aslo known as Desboutin tenant sa pipe de la main gauche, or as L'auteur fumant, � mi-corps) Drypoint, 1897 Ref: Cl�ment Janin 67 Actually, Marcellin Gilb

After my last post about Auguste Lauzet, I thought I might stick with the Impressionist theme, and discuss a truly neglected artist, Jean-Fran�ois Raffa�lli. He's someone who seems to have fallen through the cracks of art history, so much so that though his paintings and prints turn up, all his sculptures seem to have vanished into thin air. I imagine someone will come across them in a junk shop at some point, and have a eureka moment. The interesting thing about Raffa�lli is that when he exhibited with the Impressionists, he wasn't one; after he'd been cast out by them, he became one. This is especially true of his etchings and drypoints, in which he exhibits an exquisite Impressionist sensibility. La gare du Champ-de-Mars, near the bottom of this post, is just about the perfect Impressionist print. Photograph by Manuel of Jean-Fran�ois Raffaelli in his studio,  a drypoint needle in his hand, and a copperplate before him. Wearing a bowler hat. Jean-Fran�ois Raffa�lli was o

The art dealer Paul Durand-Ruel was born in Paris in 1831. In 1865 he took over his father�s picture-dealing business, which specialised in the work of the plein-air Barbizon School. Paul Durand-Ruel continued to support the Barbizon artists, but from the early 1870s, sensing a change in the air, he also cultivated a younger set of painters, influenced by Barbizon but going way beyond it in the freedom of their brushstrokes, the Impressionists. Durand-Ruel represented Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley, and Guillaumin among others, dominating the art market from his galleries in Paris, London, and New York. He established a new pattern of the gallerist as patron, the maker and breaker of careers, and manipulator of the market. The 1892 book L�Art impressioniste d�apr�s la collection priv�e de M. Durand-Ruel is a record of the Impressionist works that Durand-Ruel kept for himself. The whole book can be read online here  . It was written by Georges Lecomte, and the p