Overall good condition see photo Note a restoration in the top right, tape on the back see attached photo This work comes from a part of the studio's collection that was in a drawing box, see attached photo other works are available in my shop abstract pieces from the 1930s and drawings from the Art Brut period after the 1950s The work is signed in the bottom right with the initials "K. K.", This piece is fully situated within the abstract period of Kosnick-Kloss, influenced by her exchanges with avant-garde circles in Paris 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 spans several major movements in modern art: abstraction, engaged art, and a freer vein, close to Art Brut, in the later 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 early training, but she is active in Paris from the 1920s. She frequents avant-garde circles, where she meets Otto Freundlich, a sculptor and theorist of abstraction of German origin, with whom she shares her life and studio. She becomes 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 develops a rhythmic geometric abstraction, influenced by constructivism, orphism (of Robert and Sonia Delaunay), and theories on color. She produces gouaches and drawings where the circle and spiral dominate, evoking cosmic harmony. She is in contact with Sonia Delaunay, with whom she shares a colorist sensitivity and an interest in integrating art into everyday life (clothing, textiles, objects). Although less known, Kosnick-Kloss participates in this female ecosystem of abstraction, often overshadowed by official history. ⸻ ? Political engagement and exile With the rise of Nazism, Kosnick-Kloss and Freundlich take refuge in the south of France. Otto Freundlich, of Jewish origin and considered by the Nazis as a representative of "degenerate art," is arrested in 1943 and deported to Majdanek, where he is murdered. Jeanne survives the war and preserves the legacy of their joint work. Her post-war work, freer and more intuitive, seems marked by this trauma. ⸻ ? Art Brut / free expression period (1950s-1960s) In the 1950s-60s, Jeanne Kosnick-Kloss adopts a more spontaneous plastic expression, marked by irregular forms, primitive figures, and personal symbols. This vein links her to Art Brut or a form of naive expressionism, in the lineage of Dubuffet. She continues to pursue a discreet but coherent body of work, asserting a deeply personal aesthetic, on the fringes of dominant currents. ⸻ Legacy and recognition Jeanne Kosnick-Kloss remains today an unknown but significant figure of European abstraction. Her work is inseparable from that of Otto Freundlich, of whom she was the artistic partner and guardian of memory after the war. She continues to be rediscovered through exhibitions dedicated to Freundlich or to female abstraction. Type: Pencil Style: 1940 Genre: Abstract Characteristics: On Paper Theme: Abstract