Thilo Maatsch (1900-1983) - Kaffee Hag

Thilo Maatsch：Composition (Kaffee HAG motif) — 摘自 La Lune en Rodage III 系列作品集

Original woodcut on vergé paper, signed and dated in the block. Sheet 15.5 × 14.5 cm. The composition builds the field from a small repertoire of black geometric elements — a crenellated, tower-like block answered by an L-form of tall verticals and a solid square — set in taut asymmetric balance against the white ground, with positive form and empty interval carrying equal weight.

该版画采用光滑纹理纸张原作木刻，印章处签名并在刻版上注明日期。纸张尺寸为 15.5 × 14.5 厘米。构图以少量黑色几何元素为基础来构建画面——带齿状塔状块的结构，与高竖直的 L 形条和一个实心正方形相呼应，在白色底面上以紧绷的不对称平衡呈现，实体形态与留白区间同等重要。

The motif derives directly from Maatsch's own advertising design for Kaffee HAG, the decaffeinated coffee of Ludwig Roselius's Bremen company. In the original design (signed "Thilo 25"), the crenellated form and square make up the brand's heraldic device — a stylised castle — framing the slogans "Ruhe und Kraft" and "Coffeinfreier Kaffee HAG." For the present print, Maatsch stripped the design of its lettering and colour and reduced it to its pure constructive skeleton, turning a commercial emblem into an autonomous, non-objective composition. This translation of the applied sign into free geometric form is characteristic of his constructivist work of the 1920s, and makes the sheet a rare document of the direct exchange between advertising design and Constructivism in 1920s Germany.

该图案直接源自 Maatsch 自己为 Kaffee HAG——Ludwig Roselius 在不来梅的公司的无咖啡因咖啡所设计的广告。原始设计（签名“Thilo 25”）中，带齿的形式与正方形构成品牌的纹章装置——一个简化的城堡——框住标语“Ruhe und Kraft”和“Coffeinfreier Kaffee HAG”。在本版画中，Maatsch 将设计中的文字与色彩剥离，简化为纯粹的结构骨架，将商业标志转化为独立的、非具象的构成。这种将应用符号转译为自由几何形式的做法，是他1920年代构成主义创作的特征之一，也使该纸张成为20世纪20年代德国广告设计与构成主义之间直接交流的难得文献。

Thilo Maatsch (Braunschweig 1900 – Königslutter 1983) was a German painter, graphic artist and sculptor, and one of the committed exponents of Constructivism and Concrete art in Germany. A self-taught artist, from 1924 he studied during vacation periods at the Bauhaus, moving in the orbit of Wassily Kandinsky, Paul Klee and László Moholy-Nagy, and was acquainted with Kurt Schwitters. In 1925 he joined the Novembergruppe, and in 1927 he exhibited at Herwarth Walden's Galerie Der Sturm in Berlin. Under National Socialism his work was condemned as "degenerate." His constructivist compositions of the 1920s remain the core of his reputation.

Thilo Maatsch（布伦斯威克，1900年—科尼格斯卢特，1983年）是一位德国画家、平面艺术家与雕塑家，是德国构成主义与具体艺术的坚定倡导者之一。自学成才的艺术家，1924年起在休假期间于包豪斯学习，进入包豪斯的活动圈，与瓦西里·康定斯基、保罗·克莱、拉斯洛·莫霍利-纳吉等保持交往，并与库尔特·施维特勒斯相识。1925年他加入十一月集团，1927年在柏林赫沃斯特·沃尔登的 Galerie Der Sturm 展出。纳粹政权时期他的作品被定性为“堕落艺术”。他在1920年代的构成主义作品构成了他声誉的核心。

La Lune en Rodage is the three-volume collective portfolio assembled by the Basel-based publisher, psychoanalyst and collector Carl Laszlo (Pécs 1923 – Basel 2013), issued by Edition Panderma, Basel, in 1960, 1965 and 1977. The three volumes gather a total of some 180 original works and form a dense survey of the European avant-garde between the 1950s and the 1970s. Several of the included works mark turning points in the careers of the artists involved: Enrico Castellani's sheet is regarded as his first documented graphic work, and Piero Manzoni's Achrome as the only multiple the artist ever realised.

La Lune en Rodage 是由巴塞尔出版商、精神分析学家与收藏家卡尔·拉斯洛（卡尔·拉斯洛，Pécs 1923 – 巴塞尔 2013）整理的三卷本合集式作品集，由巴塞尔 Edition Panderma 于 1960、1965 与 1977 年发行。三卷共收录约180件原作，形成对20世纪50年代至70年代欧洲前卫艺术的密集综览。所收作品中的若干件被视为相关艺术家事业的转折点：恩里科·卡斯特拉尼的这张纸为他首部有文献记载的平面作品，而皮耶罗·曼佐尼的 Achrome 则是这位艺术家一生仅完成的一件多版画。

Condition: mint archival condition.

状态：全新、档案级完好。

Provenance: Edition Panderma, Carl Laszlo, Basel — Galerie von Bartha, Basel.

出处：Edition Panderma、Carl Laszlo、巴塞尔 — Galerie von Bartha、巴塞尔。）