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Description
In overall good condition, see photo. Drawing in pencil on tracing paper signed at the bottom right with the monogram K.K. 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 from the 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 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 in Paris as early as the 1920s. 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, 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 rhythmic geometric abstraction influenced by constructivism, orphism (by Robert and Sonia Delaunay), and theories on color. She produced gouaches and drawings where the circle and the 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 went into exile in southern France. Otto Freundlich, of Jewish descent and deemed 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 tendency links her to Art Brut or a form of naïve expressionism, in the lineage of Dubuffet. She continued a discreet yet coherent body of work, asserting a deeply personal aesthetic, on the fringes of dominant movements.
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 the 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, is a Franco-German artist whose work spans several major movements in 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 in Paris as early as the 1920s. 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, 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 rhythmic geometric abstraction influenced by constructivism, orphism (by Robert and Sonia Delaunay), and theories on color. She produced gouaches and drawings where the circle and the 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 went into exile in southern France. Otto Freundlich, of Jewish descent and deemed 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 tendency links her to Art Brut or a form of naïve expressionism, in the lineage of Dubuffet. She continued a discreet yet coherent body of work, asserting a deeply personal aesthetic, on the fringes of dominant movements.
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 the memory after the war. She continues to be rediscovered through exhibitions dedicated to Freundlich or to female abstraction.
Réf :
#400365
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Pencil on Tracing Paper 1950 Jeanne Kosnick Kloss Horse Art Brut
245€
31500 Toulouse
Ce site contient des liens d’affiliation pour lesquels je peux recevoir une compensation.
Description
In overall good condition, see photo. Drawing in pencil on tracing paper signed at the bottom right with the monogram K.K. 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 from the 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 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 in Paris as early as the 1920s. 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, 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 rhythmic geometric abstraction influenced by constructivism, orphism (by Robert and Sonia Delaunay), and theories on color. She produced gouaches and drawings where the circle and the 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 went into exile in southern France. Otto Freundlich, of Jewish descent and deemed 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 tendency links her to Art Brut or a form of naïve expressionism, in the lineage of Dubuffet. She continued a discreet yet coherent body of work, asserting a deeply personal aesthetic, on the fringes of dominant movements.
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 the 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, is a Franco-German artist whose work spans several major movements in 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 in Paris as early as the 1920s. 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, 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 rhythmic geometric abstraction influenced by constructivism, orphism (by Robert and Sonia Delaunay), and theories on color. She produced gouaches and drawings where the circle and the 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 went into exile in southern France. Otto Freundlich, of Jewish descent and deemed 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 tendency links her to Art Brut or a form of naïve expressionism, in the lineage of Dubuffet. She continued a discreet yet coherent body of work, asserting a deeply personal aesthetic, on the fringes of dominant movements.
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 the memory after the war. She continues to be rediscovered through exhibitions dedicated to Freundlich or to female abstraction.
Réf :
#400365
