Good overall condition, see photo Drawing, pencil on paper signed in the bottom right corner with the monogram K. K. This artwork comes from a part of the workshop's collection that was in a cardboard box of Drawings, see attached photo; other works are available in my shop of 1930s abstractions and Drawings from the Art Brut period after the 1950s. ⸻ 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 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 Little is 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 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 his ideas on the universality of art and the spirituality of forms. ⸻ ? Abstract Period (1920s-1930s) In the 1930s, Kosnick-Kloss developed a rhythmical 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 daily life (clothing, textiles, objects). Although less known, Kosnick-Kloss participated in this female abstraction ecosystem, often eclipsed 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 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, marked by irregular shapes, primitive figures, and personal symbols. This vein likens 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 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 devoted to Freundlich or female abstraction. Type:Gouache Style:1940-1960 Genre:Art brut, Outsider art Characteristics:On Paper Theme:Character