Karl Otto Götz, the only German member of the international COBRA group, was one of the few artists who attempted to provide theoretical underpinning and gain public attention for the abstract gestural painting of the post-war period.

The relationship between nature and culture plays a key role in Tony Cragg’s work. He wants to create objects ‘that exist neither in nature nor in our functional world’. To this end he uses a wide range of natural and industrially manufactured materials.

There is no mistaking the heads of Horst Antes. Their stark profile and, above all, their schematic stylisation have become the artist’s trademark. They appear in Antes’ paintings as Kopffüssler [Head-and-foot figures] or in public spaces as large-scale steel sculptures.

Alf Lechner’s sculptures are defined by his choice of material – steel. He works virtually exclusively with this material, creating works which often weigh hundreds of kilos. The monumental steel forms are stamped, pressed, broken, cut and rolled into shape during the production process according to his precise specifications.

I dream of a social art, wrote Victor Vasarely as early as 1953 in his “Notes Brutes” [Rough notes]. The crowds, the masses, a multitude of beings, this is the new dimension. See the unlimited space, the truth of structures. Art is the plastic aspect of the community.

His pictures and sculptures are the perfect symbiosis of beauty and rationality. Just about every work that Max Bill produced can be deciphered as a verifiable solution to a mathematical problem, without becoming overladen with meaning.

A young woman with her dog looks out, keenly and slightly provocatively, from the sketched frame of a locket. Clearly based on a photograph, the portrait appears artificial and as from another age, mainly as a result of the distortion of colours.

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