Good overall condition, see photo Drawing, pencil on paper signed at the bottom right This work comes from a part of the studio inventory that was in a cardboard box Drawing, see attached photo of others, works are available in my shop of abstractions from the 1930s 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 of modern art: abstraction, engaged art, and a more free 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 of 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 then 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 dominated by circles and spirals, 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 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 origin 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, more free and intuitive, seems marked by this trauma. ⸻ ? Art Brut / free expression period (1950-1960) In the 1950s-60s, Jeanne Kosnick-Kloss adopted a more spontaneous plastic writing, marked by irregular shapes, primitive figures, and personal symbols. This vein associates her with Art Brut or a form of naive expressionism, in the lineage of Dubuffet. She continued to produce discreet yet coherent work, affirming a deeply personal aesthetic, on the margins of dominant currents. ⸻ Legacy and recognition Jeanne Kosnick-Kloss remains today an unknown yet 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: Gouache Style: 1940-1960 Genre: Art brut, Outsider art Characteristics: On Paper Theme: Character