Jeanne Kosnick-Kloss

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Jeanne Kosnick-Kloss (also: Hannah Kosnick-Kloss or Kosnik-Kloss, Jeanne Freundlich, Hannah Freundlich; born March 3, 1892 or March 13, 1892 in Glogau ; † 1966 in Paris ) was a Franco-German painter, sculptor, carpet weaver and singer. She was a member of the artist group Abstraction-Création and exhibited her work in various galleries and group exhibitions. Since 1930 she was the partner of the painter Otto Freundlich , with whom she also worked in the shared studio.

Life

Johanna (Hannah) Kloss was born in Glogau , Silesia in 1892 . Her father was a lawyer and came from Silesia, her mother from the Rhineland. She attended school a. a. in Cologne . In 1908/09 a stay of several months in Geneva followed ; from 1909 to 1912 she served as an auxiliary nurse in Danzig and from 1912 began studying singing in Berlin , interrupted by a service as a military nurse in 1914/15.

In 1920 she married the pianist and writer Heinrich Kosnick , her former piano teacher, in Berlin . At the invitation of Walter Gropius and Wassily Kandinsky , the couple gave an “avant-garde concert” at the Weimar Bauhaus in 1923 , where they also made the acquaintance of Paul Klee and Lyonel Feininger . The couple moved to Saint-Jean-Cap-Ferrat in the south of France, where Kosnick-Kloss began painting. From 1926 onwards he created numerous works in oil , pastel , watercolor and gouache , which were exhibited for the first time in the Billiet Gallery in 1927 and then also in Berlin and Danzig.

She separated from Heinrich Kosnick in 1929 and moved to Paris; however, the couple remained married (a biographical representation assumes that Heinrich Kosnick refused to divorce in order to prevent a marriage with the Jew Otto Freundlich). Her first name Hannah became Jeanne in France .

In 1930 she met her future partner Otto Freundlich ; Together they work on mosaics, sculptures and tapestries and from 1934 they ran a small art school under the name “Le Mur” in their shared studio on Rue Henry Barbusse in Paris. Here the artist also became the mentor of the young Gaston Chaissac , with whom she corresponded until his death. From 1933 to 1934 Kosnick-Kloss was a member of the artist group Abstraction-Création , and together with Freundlich a member of the Association des Écrivains et Artistes Révolutionnaires . Her work was exhibited in the previous exhibition of the Salon des Réalités Nouvelles in the Charpentier Gallery in 1939 .

Since the beginning of the Second World War in 1939 Otto Freundlich was considered an "enemy alien" in France and was interned in various camps. He was briefly released in March 1940 and the couple met again in Paris before Freundlich finally found refuge in Saint-Paul-de-Fenouillet in the Pyrenees after another stay in camp , where he was joined by Kosnick-Kloss in September 1940. Attempts to get to the United States have failed. From the beginning of 1943, the couple stayed with farmers in Saint-Martin-de-Fenouille . Both continued to be artistically active under extremely restricted living conditions. When Freundlich was denounced in February 1943 and was then interned in Gurs , he transferred all of his work in the Paris studio to his partner in the event of his death. At the beginning of March he was murdered in the Lublin-Maidanek concentration camp .

After Freundlich's death, Jeanne Kosnick-Kloss returned to Paris “on the first American train” in 1944, where the joint studio and all of the work “miraculously” survived the war and occupation unscathed, albeit with financial support from Pablo Picasso . She was now in charge of Freundlich's artistic estate, and she also made carpets and mosaics based on the models and motifs of her deceased partner. She exhibited again in 1945 and again took part in the Salon des Réalités Nouvelles in 1956 , but lived in materially difficult circumstances, especially since, due to her relationship with Otto Freundlich, she was unable to benefit from her parents' inheritance.

Together with Hans Arp and Sonia Delaunay , she founded the Association des amis d'Otto Freundlich (German: Society of Friends of Otto Freundlich) in 1957 , which dealt with the administration of Otto Freundlich's estate and also with young, talented artists without respect for Promote "race, class, religion or nationality".

Burial site in the Auvers-sur-Oise cemetery

In 1948 Jeanne Kosnick-Kloss received French citizenship. After she was finally divorced from Heinrich Kosnick, her long-term relationship with Otto Freundlich was recognized in 1958 and she was officially allowed to bear his last name. Kosnick-Kloss died in Paris in 1966 and is buried in the Auvers-sur-Oise cemetery, where Otto Freundlich's name is also on the grave slab.

After her death, the society was renamed Association des amis de Jeanne et Otto Freundlich , ie "Friends of Jeanne and Otto Freundlich"; For a long time, gallery owner René Drouin was the chairman . The remaining works in the studio Otto Freundlich went as a donation to the Musée Tavet-Delacour in Pontoise , written documents pertaining to the Association is from since 2004 Institut mémoires de l'édition contemporaine kept (IMEC). The sub-inventory of the estate pertaining to the artist comprises 18 boxes and (as of 2008) is still largely undeveloped.

Work

Hannah Kosnick-Kloss' first works from the mid-twenties were both representational and abstract. The motifs were fantastic landscapes or figures that the curator Edda Maillet brings in connection with Art brut . Her significant other, Otto Freundlich, also became her primary artistic mentor, so his influence on her work was the most powerful. According to art historian and curator Bernhard Holeczek, she tended to elude influences from other groups and artists, such as Abstraction-Création or Sonia and Robert Delaunay . As a unifying feature of the artist couple's work, music can be seen “as the purest form of artistic abstraction”, because Otto Freundlich had also dealt with music theory.

Since 1933 Kosnick-Kloss also dealt with sculpture; two reliefs were shown in the group exhibition of Abstraction-Création. However, she also worked with other techniques and materials, such as textiles ( tapestries ) and mosaics. Holeczek sees her artistic independence in her post-war work, especially in the sculptures and reliefs.

Participation in exhibitions (selection)

Works in collections of public museums

literature

  • Kosnick-Kloss, Jeanne . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 3 : K-P . EA Seemann, Leipzig 1956, p. 102 .
  • Renate Treydel: Kosnick-Kloss, Jeanne . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 81, de Gruyter, Berlin 2014, ISBN 978-3-11-023186-1 , p. 360.
  • René Reichard, Bernhard Holeczek, Edda Maillet : Jeanne Kosnick-Kloss. Work 1930–1950. Galerie Reichard, Frankfurt am Main 1993 (contains detailed information on life and work)

Individual evidence

  1. ^ René Reichard, Bernhard Holeczek, Edda Maillet: Biography . In: Galerie Reichard (ed.): Jeanne Kosnick-Kloss. Work 1930-1950 . Frankfurt am Main 1993, p. 18 .
  2. ↑ The date mentioned in the previous reference - March 3rd - is currently the only reliable and secondary documented evidence, but there are reasons to assume that March 13th is correct. A valid receipt will be submitted later.
  3. ↑ a b c d René Reichard, Bernhard Holeczek, Edda Maillet: Biography . In: Galerie Reichard (ed.): Jeanne Kosnick-Kloss. Work 1930-1950 . Frankfurt am Main 1993, p. 18 .
  4. ↑ Some publications wrongly name 1955 as the year of death, for example Hedwig Brenner : Jüdische Frauen in der bildenden Kunst (III), Hartung-Gorre-Verlag, Konstanz 2006 and Jörg Krichbaum , Rein A. Zondergeld : Künstlerinnen. From antiquity to the present. P. 45.
  5. ↑ a b Kosnick-Kloss, Jeanne . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape  3 : K-P . EA Seemann, Leipzig 1956, p. 102 .
  6. ↑ a b c d e f g Edda Maillet: Jeanne Kosnick-Kloss. Biography based on writings, notes and other documents . In: Galerie Reichard (ed.): Jeanne Kosnick-Kloss. Work 1930–1950 . Frankfurt am Main 1993, p. 12-15 .
  7. ↑ a b c d e f g h i Bernhard Holeczek: Allegro ma non tanto . In: Galerie Reichard (ed.): Jeanne Kosnick-Kloss. Work 1930-1950 . Frankfurt am Main 1993, p. 7-9 .
  8. ↑ a b c d Jeanne Kosnick-Kloss. Épouse Kind, découvreuse de Chaissac . In: Cornette de Saint Cyr (ed.): Art Moderne & Art Contemporain . Paris 2012, p. 103–135 (French, digitized version of the catalog under cornettedesaintcyr.fr [PDF]).
  9. ↑ Joël Mettay: The lost track: in search of Otto Freundlich . Wallstein Verlag, 2005, ISBN 978-3-89244-970-6 , pp. 84 .
  10. ↑ Josette Rasle: Chaissac, man of letters: . exposition du 11 avril au 22 juillet 2006, Musée de la poste. Ed .: Musée de la poste. Ecole nationale supérieure des beaux-arts, Paris 2006, p. 39 .
  11. ↑ M. Lluïsa Faxedas-Brujats: Mujeres artistas de la vanguardia internacional: el caso de Abstraction-Création (1931-1936) . Women artists of the international avant-garde: the case of Abstraction-Création (1931-1936). September 3, 2014, p. 487 (Spanish).
  12. ↑ Angela Thomas : From the eventful history of the international artists' association Abstraction Création, Paris 1931–1937 . In: Foundation Wilhelm Lehmbruck Museum - Center for International Sculpture, Duisburg (ed.): For a new world, Georges Vantongerloo 1886-1965 and his circles from Mondrian to Bill . Scheidegger & Spiess, Zurich 2009, p. 241-242 .
  13. ↑ a b Charlotte Huguet: Le point sur un fonds, un outil, une recherche . Le fonds d'archives de l'Association des amis de Jeanne et Otto Freundlich. In: Antoinette Le Normand-Romain (ed.): Les Nouvelles de l'INHA . n ° 31st Paris April 2008, p. 4–6 ( digitized at inha.fr [PDF]).
  14. ↑ a b Domitille d'Orgeval: Jeanne Kosnick-Kloss . In: Galerie Drouart (ed.): Réalités nouvelles 1946 - 1955 . Paris November 2006, p. 151-152 .
  15. ↑ Art and the beautiful home . tape 50 . F. Bruckmann.
  16. ^ Tombe de Jeanne Kosnick-Kloss à Auvers-sur-Oise. In: auvers-sur-oise.eu. Retrieved February 4, 2017 (French).
  17. ↑ a b c d e f g h René Reichard, Bernhard Holeczek, Edda Maillet: Solo exhibitions, participation in exhibitions . In: Galerie Reichard (ed.): Jeanne Kosnick-Kloss. Work 1930-1950 . Frankfurt am Main 1993, p. 20-22 .
  18. ↑ M. Lluïsa Faxedas-Brujats: Mujeres artistas de la vanguardia internacional: el caso de Abstraction-Création (1931-1936) . Women artists of the international avant-garde: the case of Abstraction-Création (1931-1936). September 3, 2014, p. 495 (Spanish).
  19. ^ Kroniek van Hedendaagsche Kunst en Kuituur: Tentoonstelling Abstracte Kunst Stedelijk Museum (catalog for the exhibition) . Ed .: NY Uitgeversbedrijf “De Spieghel”. 1938, p. 3 (Dutch, digitized version from bibliothequekandinsky.centrepompidou.fr [PDF]).
  20. ^ Hélène Roussel: German-speaking Artists in Parisian Exile: Their Routes to the French Capital, Activities There, and Final Flight - a Short Introduction . In: Ines Rotermund-Reynard (Ed.): Contact Zones 2 . Echoes of Exile: Moscow Archives and the Arts in Paris 1933-1945, No. 2 . Walter de Gruyter, 2014, ISBN 978-3-11-029065-3 , p. 17 .
  21. ^ Joachim Heusinger von Waldegg: Otto Freundlich (1878-1943) . Monograph with documentation and catalog raisonné. In: Rheinisches Landesmuseum Bonn, Kunstverein Braunschweig, Neuer Berliner Kunstverein (ed.): Art and antiquity on the Rhine . Issue 92. Rheinland-Verlag, Pulheim 1978, p. 40 .
  22. ↑ Built pictures. Works from the Hupertz Collection February 10 - May 26, 2013. In: ernst-barlach-haus.de. Ernst-Barlach-Haus, archived from the original on March 4, 2016 ; accessed on February 4, 2017 .
  23. ↑ artist-info.com: Artist | Jeanne Freundlich Kosnick-Kloss (1892-1955). Retrieved February 4, 2017 .
personal data
SURNAME Kosnick-Kloss, Jeanne
ALTERNATIVE NAMES Kind, Hannah; Kosnick-Kloss, Hannah; Kosnik-Kloss, Hannah; Kind, Jeanne Hannah; Kloss, Johanna (maiden name); Toilets, Hannah
BRIEF DESCRIPTION Franco-German painter, sculptor, carpet weaver and singer
DATE OF BIRTH March 3, 1892
PLACE OF BIRTH Glogau
DATE OF DEATH 1966
Place of death Paris