Komposition (1938) by Otto Freundlich
Painted in 1938 — five years before Freundlich's death at Majdanek — 'Komposition' carries the compressed intensity of a late work made under pressure. The geometric planes lock together with characteristic solidity, colour doing the work that line might in another artist's hand. There is no concession to representation, no residual figuration: only form, weight, and the relationship between adjacent colour zones. Made at a moment when his work was banned and his future uncertain, the painting is a statement of artistic conviction as much as it is a formal composition — among the most significant surviving works from this period of his career.
Produced as an archival fine art print in our Berlin studio with museum-grade pigment inks, this poster reproduces the hard colour boundaries and planar precision of Freundlich's 1938 original with full sharpness and fidelity.
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Komposition (1938) by Otto Freundlich
Painted in 1938 — five years before Freundlich's death at Majdanek — 'Komposition' carries the compressed intensity of a late work made under pressure. The geometric planes lock together with characteristic solidity, colour doing the work that line might in another artist's hand. There is no concession to representation, no residual figuration: only form, weight, and the relationship between adjacent colour zones. Made at a moment when his work was banned and his future uncertain, the painting is a statement of artistic conviction as much as it is a formal composition — among the most significant surviving works from this period of his career.
Produced as an archival fine art print in our Berlin studio with museum-grade pigment inks, this poster reproduces the hard colour boundaries and planar precision of Freundlich's 1938 original with full sharpness and fidelity.
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Painted in 1938 — five years before Freundlich's death at Majdanek — 'Komposition' carries the compressed intensity of a late work made under pressure. The geometric planes lock together with characteristic solidity, colour doing the work that line might in another artist's hand. There is no concession to representation, no residual figuration: only form, weight, and the relationship between adjacent colour zones. Made at a moment when his work was banned and his future uncertain, the painting is a statement of artistic conviction as much as it is a formal composition — among the most significant surviving works from this period of his career.
Produced as an archival fine art print in our Berlin studio with museum-grade pigment inks, this poster reproduces the hard colour boundaries and planar precision of Freundlich's 1938 original with full sharpness and fidelity.
