A coral pillar leans against a blue beam under a band of yellow

Broad diagonal planes of coral, salmon and ochre rise toward a band of lemon yellow, crossed lower down by stripes of sky blue and cobalt, the edges softened where one colour feathers into the next. Around 1931 Freundlich, then a founder member of the Abstraction-Création group in Paris, was pushing his mosaic grids toward larger, calmer fields; this is one of the warmest results, closer to a sunset than a diagram.

Otto Freundlich (1878–1943) was one of the first European painters to commit fully to abstraction. Born in Pomerania, he settled in Paris in 1908 among the artists of the Bateau-Lavoir, worked on the restoration of the stained glass at Chartres Cathedral, and went on to build his mature paintings from interlocking fields of colour laid down like mosaic tesserae, later co-founding the Abstraction-Création group. In 1937 the Nazi regime singled out his work as 'degenerate', and he did not survive the war. His paintings were gathered by his companion Jeanne Kosnick-Kloss and donated to the Musée de Pontoise, and they have been steadily rediscovered ever since as a cornerstone of early abstraction.

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