Modern and Contemporary Art Geometric Abstraction Cahn, Marcelle Delphine Untitled (Geometric Abstraction). Colour lithograph on Arches vellin. 40.8 x 28 cm (64.7 x 38.2 cm). Signed and numbered. Slightly browned. Traces of mounting and handwritten pencil annotations on the reverse. A magnificent, vibrant print. One of 250 copies. - Marcelle Cahn’s geometric abstraction is the result of a journey that led from the figurative school of Eugen Spiro and Lovis Corinth, via a two-dimensional, compositional approach in the style of Vuillard and Denis, to purist rigour. At the Académie Moderne, Amédée Ozenfant and Fernand Léger introduced her to the concept of a reduced, ‘pure’ formal language based on clear contours, simple volumes and the organisation of the plane. From this, she developed her characteristic white picture grounds with fine networks of lines and a few precisely placed fields of colour, in which technical precision and meditative tranquillity come together. In her later reliefs and ‘spatiaux’, she extended this geometry, shaped by her teachers, into three-dimensional space, transforming the teachings of the Purists and Léger into a highly personal, tranquil abstraction. In 1928–29, she joined the circles of the abstract avant-garde: She exhibited with the ‘Cercle et Carré’ group, an association of artists including Piet Mondrian, Wassily Kandinsky, Jean Gorin and Hans Arp, and from 1930 onwards was also associated with the ‘Abstraction-Création’ group. Geometric Abstraction. – Untitled (Geometric Abstraction) Colour lithograph on Arches vellum. Signed and numbered. Slightly discoloured. A magnificent, vibrant print. One of 250 copies. - Marcelle Cahn’s geometric abstraction is the result of a journey that leads from the figurative school of Eugen Spiro and Lovis Corinth, through a two-dimensional, compositional approach in the style of Vuillard and Denis, to purist rigour. At the Académie Moderne, Amédée Ozenfant and Fernand Léger introduced her to the concept of a reduced, ‘pure’ formal language based on clear contours, simple volumes and the order of the plane. From this, she developed her characteristic white picture grounds with fine linear grids and a few precisely placed fields of colour, in which technical precision and meditative calm come together. In her later reliefs and ‘spatiaux’, she extended this geometry, shaped by her teachers, into three-dimensional space and transformed the teachings of the Purists and Léger into a highly personal, quiet abstraction. In 1928–29, she joined the circles of the abstract avant-garde: she exhibited with the group ‘Cercle et Carré’, an association of artists including Piet Mondrian, Wassily Kandinsky, Jean Gorin and Hans Arp, and from 1930 onwards was also associated with the group ‘Abstraction-Création’.