Heinz Kreutz (1923-2016) - Sin título

Original Heinz Kreutz Serigraphy (*)
Stamping on high-grade Velin cotton cardboard (300 g/m2).
Signed and numbered by the artist.
Includes Certificate of Authenticity (COA).

Specifications:

Sheet dimensions: 40.5 x 40.5
Year: 1970
Edition: 86/100
Condition: Excellent (this work has never been matted or exhibited, always stored in a professional art folder, hence offered in excellent condition)

The work will be carefully handled and packaged. Shipping will be via tracked insured mail.

Shipping will be via tracked insured mail. It will also include transport insurance with full reimbursement in case of loss or damage at no cost to the buyer.

(*) Heinz Kreutz (1923–2016) is one of the most fascinating and chameleon-like figures of postwar German abstract art. Although historically famous for co-founding in 1952 the legendary group Quadriga — with Karl Otto Götz, Bernard Schultze, and Otto Greis — marking the birth of Informal Art and Tachism in Germany, his career took a radical turn in the late 1960s.
Unlike his contemporaries, who continued along the path of gestural and chaotic brushwork, Kreutz became obsessed with Goethe’s color theory and mathematical order. It was in this transition toward Concrete Art and Geometric Abstraction that he began to experiment with formal purity and Hard-edge, sometimes adopting the pseudonym James Craig to differentiate his systematic chromatic investigations and his graphic works from his earlier painting.
In this constructivist facet, Kreutz’s work (or works under his James Craig identity) directly connects with the great masters of European Concrete Art. His use of the grid as a vertebral element and the pursuit of compositions where color is the sole protagonist place him in the wake of Swiss artist Max Bill and pioneer Richard Paul Lohse, who advocated a logical, systematic art free from any emotional subjectivity.
Furthermore, the play of positive and negative contrasts, and the optical interaction of pure geometric shapes in his screenprints — such as squares and color-plane oppositions — closely dialogue with the structures of Josef Albers and his studies on color interaction, as well as with the visual vibration and dynamism characteristic of Victor Vasarely’s Op Art.
Through serigraphy, a medium that allowed him to completely erase the brushstroke trace to achieve perfectly homogeneous chromatic surfaces, Kreutz became a unique bridge in the German graphic-arts market, evolving from informal automatism to the most precise discipline of mathematical geometry.