Heinz Kreutz (1923-2016) - Sin título

Original screen print by Heinz Kreutz (*)

Printing on Velin cotton card stock of high grammage (300 g/m²).
Hand-signed and numbered by the artist.
Comes with a Certificate of Authenticity (COA).

Specifications:

Sheet dimensions: 40.5 x 40.5
Year: 1970
Edition: 81/100
Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art folder, therefore offered in excellent condition)

The work will be carefully handled and packaged. The shipment will be sent with a tracking number.

The shipment will be sent with a tracking number. It will also include transportation 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 figures of postwar German abstract art. Although historically famed for co-founding in 1952 the mythical group Quadriga — together 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 peers, 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 print production from his earlier painting.
In this constructivist facet, Kreutz's work (or works under his James Craig identity) connects directly with the great masters of European Abstract 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 tradition of Swiss Max Bill and pioneer Richard Paul Lohse, who advocated a logical, systematic art devoid of any emotional subjectivity.
Similarly, the play of positive and negative contrasts, and the optical interaction of pure geometric forms in his screen prints — such as squares and the contrasts of flat color — 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 screen printing, a medium that allowed him to completely erase the trace of the brush to achieve perfectly homogeneous chromatic surfaces, Kreutz managed to become a unique bridge in the collection of German graphic art, evolving from informal automatism to the most meticulous discipline of mathematical geometry.