Max Bill - Komposition Mit Weißem Zentrum - Original Silkscreen Print

Original serigraphy by Max Bill (*)
This work was published by Galerie Thomas (Munich) on the occasion of the exhibition “Look At.”
Printed on fine vellum paper.
Unsigned.
Attached Certificate of Authenticity (COA).

Specifications:

Sheet dimensions: 67 x 67 cm.
Motif dimensions: 58 x 58 cm.
Year: 1972
Edition: unknown.
Publisher: Galerie Thomas (Munich)
Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art folder, and is therefore in very good condition)

The work will be carefully handled and packed. The shipment will be sent by insured mail with a tracking number.

The shipment will be sent by insured mail with a tracking number. The shipment will also include transport insurance with full reimbursement in case of loss or damage at no cost to the buyer.

(*) Max Bill was a Swiss architect, painter, sculptor, graphic, typographic and industrial designer, advertiser and educator.
Born in Winterthur (Switzerland). From 1924 to 1927 he studied at the Kunstgewerbeschule in Zurich, where he was influenced by Dadaism and Cubism. From 1927 to 1929 he studied arts at the Bauhaus in Dessau, where he approached the functionalism of design. When he finished his studies he returned to Zurich to devote himself to painting, architecture and graphic design.
In 1930 he created his own architecture studio and as a member of the Deutscher Werkbund he carried out the Nuebühl house in a modern style, near Zurich.
In 1931 he adopted Theo van Doesburg’s theory of “concrete art,” according to which universality could be achieved with clarity.
In 1932 he worked as a sculptor and joined some artistic organizations such as Abstraction-Creation, and Switzerland’s Allianz group of artists.
In 1944 Bill ventured into industrial design, with the design of an aluminum clock for Junghans, a company with which he collaborated for several years designing wall clocks, kitchen clocks and wrist watches with a rationalist style and industrial aesthetics. He organized the exhibition "Die gute industrieform," which aimed to promote the high quality of industrial design objects. He also designed a minimalist stool, the Ulmer Hocker (1954), one of his best-known designs.
In 1951 he founded the Hochschule für Gestaltung in Ulm, Germany, a school continuing the Bauhaus tradition. At this institution he was rector and head of the architecture and production design departments from 1951 to 1956. At this school Bill defended Bauhaus functionalism, as he believed that forms based on mathematical laws possessed aesthetic purity, and therefore universality.
In 1957, after leaving the Ulm HfG, he founded his own studio in Zurich and dedicated himself to sculpture, painting and architecture.
From 1967 to 1971 he served as a member of the Swiss National Council, and later became a professor at the Staatliche Hochschule für Bildende Künste in Hamburg.
In 1976 he became a member of the Berlin Academy of Arts.
Max Bill passed away in 1994 in Berlin.