Anna Beothy-Steiner: Construction for La Lune en Rodage III Medium: Silkscreen print Material: Paper Dimensions: 28 x 21,5 cm Editor: Edition Panderma, Basel Year: 1950s, published 1977 Edition: This is an unnumbered copy of 230 editions (65 hors commerce were unnumbered) Signature: Signed Provenance: Edition Panderma, Carl Laszlo, Basel Galerie von Bartha, Basel Private Collection, Basel Condition / Restauration : good condition, a minor bend in the paper of lower left corner Further Information: A rare limited edition of the portable collection of post-war and contemporary art La Lune en Rodage III. This is an unnumbered copy of 230 editions (65 hors commerce were unnumbered) and part of the third serie of the La Lune en Rodage books. La Lune en Rodage was published in three volumes in 1960, 1965 and 1977 containing a total of approximately 180 art pieces which provide an account of the artistic avant-garde scene between the 1950s and 1970s. The art works were gathered by Carl Laslzo and included the greatest artists of the time who contributed with important pieces, often marking a turning point in their production and carriers: Enrico Castellani’s work for example is his first documented graphic work and Piero Manzoni's multiple Achrome is the only one produced by the artist. Biography: Anna Beöthy Steiner, also Anna Beothy Steiner, (born 1902 in Nagyvárad, Austria-Hungary, † 1985 in Paris) was an important Hungarian-French Avant-Garde painter. Anna Steiner studied journalism between 1922 and 1925 at the private art school of Álmos Jaschik in Budapest. Numerous trips took her to Austria, Germany and Italy, where she met Filippo Tommaso Marinetti, whose futuristic ideas influenced her as well as the Orphism of Robert Delaunay. Since 1927 she lived in Paris, where she married István Beöthy. She was one of the founding members of the 1931 group "Abstraction-Création", which included artists like Arp, Gabo, Herbin, Kupka, Mondrian, Nicholson and Vantongerloo. In 1934 Beöthy Steiner interrupted her artistic work and did not resume her work until the 1960s, after the death of her husband. Her major works are the works from 1927 to 1934. In addition to magazine illustrations, fabric and fashion designs, especially gouaches and watercolors were created during this time. They show the interpenetration and superimposition of simple, geometric color surfaces, the proportions of which reveal the preoccupation with István Beöthy. Since 1932 her compositions have been defined by the contrast of simple colors. It created flat color spaces that anticipated the ideas of Op Art.