Otto Freundlich Abstract Ink Drawings on Woven Paper, before 1940.
(via liveauctioneers.com)
Paul Sérusier ‘Fougères’ 1899.
Sérusier was a French painter known for his innovative use of flat shapes of colour. Sérusier was notably the founder of the Nabis, a group which included Maurice Denis, Pierre Bonnard, and Édouard Vuillard “Free form and colour from their traditional descriptive functions in order to express personal emotions and spiritual truths,” he once advised.
(Source: artnet.com)
Woodcut Bookplate Ex Libris ‘Pavel Sochr‘ by Hungarian Secession Artist Kálmán Tichy, ca.1905.
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Vladimir Vasilievich Lebedev ‘Cabaret Dancer’ 1920s.
(Source: artnet.com)
Vladimir Vasilievich Lebedev ‘Sitting Woman’ ca.1920.
(Source: artnet.com)
Hugh Ferriss, Study for Maximum Mass, 1922.
The modern skyscraper takes on a futuristic, monumental form in Hugh Ferris’ series of architectural renderings. First Published in the New York Times in 1922, these drawings show how the city's landmark 1916 "set-back" law would produce the stepped architectural silhouette realized years later in structures such as the Waldorf Astoria and the Empire State Building. The limitations imposed on maximum mass were designed to allow light into city streets, and to allay public fears that the new monoliths would turn city streets into canyons of darkness. Ferriss blocked out the building’s form in a greasy crayon, used a paper stump to achieve halftones, and produced highlights with an eraser.
(Source: collection.cooperhewitt.org)
Willi Baumeister Photo Collage 'Head', 1923.
After World War II, due to international contacts he had established as far back as the early 1920s, the painter Willi Baumeister of Stuttgart was quick to become the most well-known German modern artist, around whom the younger generation rallied. By virtue of his life-long experimentation in the fine arts, writing and teaching, he became a protagonist of abstract art.
This photo-collage was produced in 1923, the date being testified to by a labelled photograph in the Baumeister archive. It was used in 1930 as the cover for »Gefesselter Blick,« a publication on advertising graphics. The work derives its remarkable suggestive force from the extremely diverging degrees of reality represented by the photo and the abstract drawing, as well as from the fixation of the subject’s gaze directly on the spectator - a gaze whose intensity is enhanced by the division and displacement it undergoes in the collage.
Source: staatsgalerie.de