Crayon, blotted, on yellowish Ingres paper, NT 1276
The charcoal drawing »Self-portrait with Karl Kollwitz« from 1940 presents a different pictorial concept of the double portrait from the bronze sculpture »Farewell« (Seeler 29). In the drawing there is parity and togetherness in the portrait of the artist, retreating, her face half in the shadow on the one hand, and that of her tired husband supporting his head in his hands on the other.
This representation still reflects a common, albeit not very optimistic perspective, while in the sculpture »Farewell« Karl has already retreated from his wife and this world. Both works have in common, however, that the figures merge into one single block as a symbol of a couple bound together in matrimony.