Good overall condition see photo This artwork 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 of 1930s abstractions 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 fully fits into Kosnick-Kloss's abstract period, influenced by her exchanges 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 spans several major movements of modern art: abstraction, engaged art, and a more free-spirited 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 of spiritual abstraction. ⸻ ? Training and early years Very few details are known about her initial training, but she was active in Paris from the 1920s. During this time, 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 (from 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, with whom she shared a color sensitivity and an interest in integrating 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 went into exile in the south of France. Otto Freundlich, of Jewish origin 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 forms, primitive figures, and personal symbols. This vein likens her to Art Brut or a form of naive expressionism, in the tradition of Dubuffet. She pursued a discreet yet coherent body of work, asserting a deeply personal aesthetic, on the margins of dominant currents. ⸻ Legacy and recognition Jeanne Kosnick-Kloss remains today a little-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 female abstraction. Type: Pencil Style: 1940 Genre: Abstract Features: On Paper Theme: Abstract