Good general condition, see photo. This artwork comes from a part of the studio collection that was in a drawing box, see attached photo of others. Works are available in my shop featuring abstractions from the 1930s and drawings from the Art Brut period after the 1950s. ⸻ Artwork description This piece by Jeanne Kosnick-Kloss, created in the 1930s, is a gouache on paper measuring approximately 23 × 17 cm. It presents an abstract composition centered around a dynamic circular shape, painted on a rectangular sheet. The use of gouache, with its matte and dense finish, enhances the intensity of the colors and the vibration of the shapes. The composition reflects formal explorations around rhythm and visual balance, related to the geometric abstraction explorations of the time. The work is signed in the lower right with the initials "K. K." and bears a workshop stamp on the back, attesting to its authenticity. This piece fits perfectly within Kosnick-Kloss's abstract period, influenced by her interactions with Parisian avant-garde circles and her artistic affinities with Sonia Delaunay. ⸻ Biography of Jeanne Kosnick-Kloss (1892 – after 1966) Jeanne Kosnick-Kloss, born in 1892, is a Franco-German artist whose work traverses several major streams of modern art: abstraction, engaged art, and a more free vein, close to Art Brut, in the last decades of her life. She is also known for her artistic and personal collaboration with Otto Freundlich, a major figure in spiritual abstraction. ⸻ ? Training and early years Few details are known about her initial training, but she was active from the 1920s in Paris. She frequented avant-garde circles, where she met Otto Freundlich, a sculptor and theorist of abstraction of German origin, with whom she shared her life and studio. She became an essential collaborator of Freundlich, participating in his work, sharing his ideas on the universality of art and the spirituality of forms. ⸻ ? Abstract period (1920s-1930s) In the 1930s, Kosnick-Kloss developed a rhythmic geometric abstraction influenced by Constructivism, Orphism (of Robert and Sonia Delaunay), and theories on color. She produced gouaches and drawings where the circle and spiral dominate, evoking cosmic harmony. She was in contact with Sonia Delaunay, sharing a colorist sensitivity and an interest in the integration of art into everyday life (clothing, textiles, objects). Although less known, Kosnick-Kloss participated in this female ecosystem of abstraction, often overshadowed by official history. ⸻ ? Political engagement and exile With the rise of Nazism, Kosnick-Kloss and Freundlich exiled themselves to the south of France. Otto Freundlich, of Jewish descent and considered by the Nazis as a representative of "degenerate art," was arrested in 1943 and deported to Majdanek, where he was murdered. Jeanne survived the war and preserved the legacy of their joint work. Her post-war work, more free and intuitive, seems marked by this trauma. ⸻ ? Art Brut / free expression period (1950s-1960s) In the 1950s-60s, Jeanne Kosnick-Kloss adopted a more spontaneous plastic writing, marked by irregular shapes, primitive figures, and personal symbols. This vein relates her to Art Brut or a form of naive expressionism, in the lineage of Dubuffet. She pursued a discreet but coherent body of work, asserting a deeply personal aesthetic, on the margins of dominant currents. ⸻ Legacy and recognition Jeanne Kosnick-Kloss remains today a lesser-known but significant figure of European abstraction. Her work is inseparable from that of Otto Freundlich, of whom she was the artistic partner and the guardian of memory after the war. She continues to be rediscovered through exhibitions dedicated to Freundlich or to female abstraction. Recommended products Provided by Very Nice Gouache Painting on Paper 1930 Jeanne Kosnick Kloss Abstract Antique See the product Type: Mixed Composition Style: 1930 Genre: Abstract Features: On Paper Theme: Abstract Country of origin: France