Jeanne Kosnick-Kloss (or Hannah Kosnick-Kloss , Jeanne Otto Freunlich-Kloss, Hannah Freundlich , Jeanne Freundlich , born in Germany on March 13 , 1892 in Glogau , Silesia today in Poland , and died in Paris on April 23 , 1966) is a French abstract painter of German origin. At the start of her career, she was a recognized lyrical singer.
Hannah Kloss, was born in Silesia into a family of lawyers. She studies music, piano and singing. Singer-Lyric, she married her piano teacher Henrick Kosnik who is also a writer. During a series of concert-recitals at the Bauhaus , she meets Walter Gropius, Kandinsky and Paul Klee .
She was introduced to painting from 1924 and came to live in Paris from 1929, First solo exhibition at the Billet gallery, rue de la Bo tie in Paris , where Roger Bissière discovered his work there in 1927 and in is influenced . Leaving her first husband, Hannah then calls herself Jeanne while keeping the name of her first husband from whom she could not divorce. Jeanne Kosnik-Kloss moved in with Otto Freundlich. They create an art school. On this occasion, they meet Gaston Chaissac, whom they encourage and with whom she maintains a correspondence all her life. Strongly influenced by her companion with whom she collaborates for the realization of mosaics, she works in sculpture, tapestry and embroidery. She was a member of Abstraction-Cr ation in 1933, then of R alit s Nouvelles in 1939. She exhibited in London in Peggy Guggenheim’s gallery in 1938.
While Otto Freundlich was interned as a German at the start of World War II, she escaped prison. Freed Freundlich and Kosnick-Kloss fled to Roussillon where the couple was denounced in 1943. She remained interned in Gurs while Otto Freundlich, as a Jew, was deported and murdered in Sobibor in 1943 .
Otto Freundlich had time to leave his will to his companion. Jeanne Kosnik-Kloss returned to Paris in 1944 by the “first American train” and found her workshop “by miracle” intact, it was protected by Picasso. She took French nationality in 1948 . And takes the name Jeanne Freundlich-Kloss. She adopts a language deeply marked by that of her companion made of small areas of carefully delimited colors. Although living in extremely difficult conditions, she exhibited at the Salon des R alit s Nouvelles from 1946 to 1956 in Paris. In 1957, she created the Association of Friends of Otto Freundlich, with the helpHans Arp or Sonia Delaunay , and Ren Drouin . The statutes of the association provided for the creation of a city in Auvers-sur-Oise for artists âfrom all countries, without distinction of race, class, religion and nationality. She will help talented strangers overcome life’s difficulties â
The work of Jeanne Kosnik-Kloss is at the crossroads of two trends, on the one hand a formal work resulting from abstraction and on the other hand a work assimilated to art brut with figurations and representations. The influence of her companion, with whom she shares her workshop, is preponderant in the first part of her artistic life, she develops a personal and musical language . Subsequently she developed a language which went beyond abstraction, developed and linked to Art Brut.
+ Follow works by this artist
+ Share Artist
Jeanne Kosnick-Kloss (or Hannah Kosnick-Kloss , Jeanne Otto Freunlich-Kloss, Hannah Freundlich , Jeanne Freundlich , born in Germany on March 13 , 1892 in Glogau , Silesia today in Poland , and died in Paris on April 23 , 1966) is a French abstract painter of German origin. At the start of her career, she was a recognized lyrical singer.
Hannah Kloss, was born in Silesia into a family of lawyers. She studies music, piano and singing. Singer-Lyric, she married her piano teacher Henrick Kosnik who is also a writer. During a series of concert-recitals at the Bauhaus , she meets Walter Gropius, Kandinsky and Paul Klee .
She was introduced to painting from 1924 and came to live in Paris from 1929, First solo exhibition at the Billet gallery, rue de la Bo tie in Paris , where Roger Bissière discovered his work there in 1927 and in is influenced . Leaving her first husband, Hannah then calls herself Jeanne while keeping the name of her first husband from whom she could not divorce. Jeanne Kosnik-Kloss moved in with Otto Freundlich. They create an art school. On this occasion, they meet Gaston Chaissac, whom they encourage and with whom she maintains a correspondence all her life. Strongly influenced by her companion with whom she collaborates for the realization of mosaics, she works in sculpture, tapestry and embroidery. She was a member of Abstraction-Cr ation in 1933, then of R alit s Nouvelles in 1939. She exhibited in London in Peggy Guggenheim’s gallery in 1938.
While Otto Freundlich was interned as a German at the start of World War II, she escaped prison. Freed Freundlich and Kosnick-Kloss fled to Roussillon where the couple was denounced in 1943. She remained interned in Gurs while Otto Freundlich, as a Jew, was deported and murdered in Sobibor in 1943 .
Otto Freundlich had time to leave his will to his companion. Jeanne Kosnik-Kloss returned to Paris in 1944 by the “first American train” and found her workshop “by miracle” intact, it was protected by Picasso. She took French nationality in 1948 . And takes the name Jeanne Freundlich-Kloss. She adopts a language deeply marked by that of her companion made of small areas of carefully delimited colors. Although living in extremely difficult conditions, she exhibited at the Salon des R alit s Nouvelles from 1946 to 1956 in Paris. In 1957, she created the Association of Friends of Otto Freundlich, with the helpHans Arp or Sonia Delaunay , and Ren Drouin . The statutes of the association provided for the creation of a city in Auvers-sur-Oise for artists âfrom all countries, without distinction of race, class, religion and nationality. She will help talented strangers overcome life’s difficulties â
The work of Jeanne Kosnik-Kloss is at the crossroads of two trends, on the one hand a formal work resulting from abstraction and on the other hand a work assimilated to art brut with figurations and representations. The influence of her companion, with whom she shares her workshop, is preponderant in the first part of her artistic life, she develops a personal and musical language . Subsequently she developed a language which went beyond abstraction, developed and linked to Art Brut.
+ Follow works by this artist
+ Share Artist
