Who painted Barracks (Kaserne)?

Barracks (Kaserne) was painted by Walter Gramatté in 1916.

Where can I see Barracks (Kaserne)?

Barracks (Kaserne) is held by National Gallery of Art.

Can I buy a print of Barracks (Kaserne)?

Museum-quality prints of Barracks (Kaserne) are available made-to-order from Artifact World Gallery.

Artwork

Barracks (Kaserne)

Walter Gramatté , 1916

Barracks (Kaserne) is an ink print by Walter Gramatté. It dates from 1916 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1916, *Barracks (Kaserne)* is a drypoint print on cardstock by German artist Walter Gramatté. The work presents a modest building with a sloping roof, set behind a low stone wall and framed by a field of tall, wavering grass. Its line work is loose, scratchy, and reminiscent of a rapid sketch, conveying a sense of immediacy.

Subject & Meaning

The composition depicts a military barracks, a motif drawn from Gramatté’s personal experience of World War I. The stark architecture and the surrounding grass evoke the quiet, isolated atmosphere of a wartime outpost, reflecting the artist’s own illness and the broader emotional weight of the conflict.

Technique & Style

Gramatté employed a drypoint needle to incise the image directly into the cardstock, producing jagged, burr‑laden lines that remain visible in the final print. This method yields a raw, unfinished quality, aligning with the expressionist tendency toward emotive, gestural mark‑making.

History & Provenance

The print originates from Gramatté’s productive period across several European cities, including Berlin, Hamburg, Hiddensee, and Barcelona. While specific ownership details are scarce, the work is representative of his wartime output and has been documented in collections focusing on early 20th‑century German expressionism.

Context

During the First World War, Gramatté’s art increasingly turned to themes of confinement, illness, and the psychological impact of military life. *Barracks (Kaserne)* fits within this broader shift, illustrating how personal and collective trauma informed his visual language.