Max Bill - Composición con centro en blanco

Original serigraphy by Max Bill (*)
This work was edited by Galerie Thomas (Munich) on the occasion of the exhibition 'Look At'.
Edited on fine tissue paper.
Unsigned
Attach the Certificate of Authenticity (COA).

Specifications

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

The item will be carefully handled and packaged. The shipment will be certified with a tracking number.

The shipment will be certified with a tracking number. It 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 designer, typographer, industrial designer, advertising professional, 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 dedicate himself to painting, architecture, and graphic design.
In 1930, he created his own architecture studio, and as a member of the Deustcher Werkbund, he designed the Nuebühl estate in a modern style near Zurich.
In 1931, he adopted the theory of 'concrete art' by Theo van Doesburg, according to which it was possible to achieve universality through clarity.
In 1932, he worked as a sculptor and joined some artistic organizations such as Abstraction-Creation, the Swiss artist group Allianz.
In 1944, Bill ventured into industrial design, creating an aluminum watch for Junghans, a company with which he collaborated for several years designing wall clocks, kitchen clocks, and wristwatches with a rationalist style and industrial aesthetic. He organized the exhibition 'Die gute industrieform,' which aimed to promote high-quality objects in industrial design. He also designed a minimalist stool, the Ulmer Hocker (1954), one of his most well-known designs.
In 1951, he founded the Hochschule für Gestaltung in Ulm, Germany, a school that continued the tradition of the Bauhaus. At this institution, he served as rector and head of the departments of architecture and production design from 1951 to 1956. At this school, Bill defended the functionalism of the Bauhaus, believing that forms based on mathematical laws possessed an aesthetic purity and, therefore, universality.
In 1957, and after leaving the HfG of Ulm, he founded his own studio in Zurich and dedicated himself to sculpture, painting, and architecture.
From 1967 to 1971, he became a member of the Swiss National Council, and then he 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 died in 1994 in Berlin.