Heinz Kreutz (1923-2016) - Sin título

Original Heinz Kreutz serigraphy (*)
Stamp on Velin cotton paper, high weight (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: 81/100
Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art folder, and is offered in excellent condition)

The work will be carefully handled and packaged. Shipping will be insured with a tracking number.

Shipping will be insured with a tracking number. The shipment will also include transportation insurance with full reimbursement in case of loss or damage at no additional cost to the buyer.

(*) Heinz Kreutz (1923–2016) is one of the most fascinating and chameleon figures of postwar German abstract art. Although historically famous 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 Tachisme 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, at times adopting the pseudonym James Craig to differentiate his systematic chromatic investigations and his graphic work from his earlier painting production.
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 guiding 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 defended a logical, systematic art devoid of any emotional subjectivity.
Furthermore, the play of positive/negative contrasts and the optical interaction of pure geometric shapes in his silkscreens — such as squares and the 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 silkscreen, a medium that allowed him to completely erase the brushstroke imprint to achieve perfectly homogeneous chromatic surfaces, Kreutz became a unique bridge in the German graphic works market, evolving from informal automatism to the most meticulous discipline of mathematical geometry.