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Description
Good general 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 from the abstractions of the 1930s and drawings from the Art Brut period post-1950.
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Biography of Jeanne Kosnick-Kloss (1892 – after 1966)
Jeanne Kosnick-Kloss, born in 1892, was a Franco-German artist whose work traverses several major movements in modern art: abstraction, engaged art, and a freer vein closer 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 in Paris from the 1920s. She frequented avant-garde circles where she met Otto Freundlich, a German-born sculptor and theorist of abstraction, with whom she shared her life and studio. She became an essential collaborator of Freundlich, contributing to his work and sharing ideas about 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 color theories. 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 colorist sensitivity and an interest in integrating art into everyday life (clothing, textiles, objects). Although lesser-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 sought exile in the south of France. Otto Freundlich, of Jewish descent and considered by the Nazis to be 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, freer and more 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, characterized by irregular forms, 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 yet coherent body of work, asserting a deeply personal aesthetic, on the fringes of dominant movements.
---
Legacy and Recognition
Today, Jeanne Kosnick-Kloss remains an unknown yet significant figure in 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.
---
Biography of Jeanne Kosnick-Kloss (1892 – after 1966)
Jeanne Kosnick-Kloss, born in 1892, was a Franco-German artist whose work traverses several major movements in modern art: abstraction, engaged art, and a freer vein closer 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 in Paris from the 1920s. She frequented avant-garde circles where she met Otto Freundlich, a German-born sculptor and theorist of abstraction, with whom she shared her life and studio. She became an essential collaborator of Freundlich, contributing to his work and sharing ideas about 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 color theories. 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 colorist sensitivity and an interest in integrating art into everyday life (clothing, textiles, objects). Although lesser-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 sought exile in the south of France. Otto Freundlich, of Jewish descent and considered by the Nazis to be 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, freer and more 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, characterized by irregular forms, 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 yet coherent body of work, asserting a deeply personal aesthetic, on the fringes of dominant movements.
---
Legacy and Recognition
Today, Jeanne Kosnick-Kloss remains an unknown yet significant figure in 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.
Réf :
#400431
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Comments
Pastel on Paper 1940 Jeanne Kosnick Kloss Art Brut Ancient Bird
850€
31500 Toulouse
Ce site contient des liens d’affiliation pour lesquels je peux recevoir une compensation.
Description
Good general 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 from the abstractions of the 1930s and drawings from the Art Brut period post-1950.
---
Biography of Jeanne Kosnick-Kloss (1892 – after 1966)
Jeanne Kosnick-Kloss, born in 1892, was a Franco-German artist whose work traverses several major movements in modern art: abstraction, engaged art, and a freer vein closer 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 in Paris from the 1920s. She frequented avant-garde circles where she met Otto Freundlich, a German-born sculptor and theorist of abstraction, with whom she shared her life and studio. She became an essential collaborator of Freundlich, contributing to his work and sharing ideas about 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 color theories. 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 colorist sensitivity and an interest in integrating art into everyday life (clothing, textiles, objects). Although lesser-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 sought exile in the south of France. Otto Freundlich, of Jewish descent and considered by the Nazis to be 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, freer and more 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, characterized by irregular forms, 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 yet coherent body of work, asserting a deeply personal aesthetic, on the fringes of dominant movements.
---
Legacy and Recognition
Today, Jeanne Kosnick-Kloss remains an unknown yet significant figure in 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.
---
Biography of Jeanne Kosnick-Kloss (1892 – after 1966)
Jeanne Kosnick-Kloss, born in 1892, was a Franco-German artist whose work traverses several major movements in modern art: abstraction, engaged art, and a freer vein closer 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 in Paris from the 1920s. She frequented avant-garde circles where she met Otto Freundlich, a German-born sculptor and theorist of abstraction, with whom she shared her life and studio. She became an essential collaborator of Freundlich, contributing to his work and sharing ideas about 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 color theories. 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 colorist sensitivity and an interest in integrating art into everyday life (clothing, textiles, objects). Although lesser-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 sought exile in the south of France. Otto Freundlich, of Jewish descent and considered by the Nazis to be 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, freer and more 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, characterized by irregular forms, 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 yet coherent body of work, asserting a deeply personal aesthetic, on the fringes of dominant movements.
---
Legacy and Recognition
Today, Jeanne Kosnick-Kloss remains an unknown yet significant figure in 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.
Réf :
#400431
