Winter, Fritz o.T. (abstract composition). 1960. mixed media with oil on wove paper. 17 x 24 cm. Signed and dated. - Mounted in spots on support, free-standing in passepartout, framed under glass (unopened). - Apparently in exceptionally good condition. The colours fresh, powerful and expressive. Provenance: Acquired from the estate of the collector and art critic Heiner Stachelhaus in 2002. - Since his participation in documenta I in 1955, Fritz Winter has been considered one of the leading artists of German post-war modernism and a prominent representative of Art Informel. - In the present work from the artist's main phase, the colour forms are layered on top of each other in a balanced way, the powerful brushstroke is clearly freer and more experimental than in his early work of the 1950s. At the same time, very early influences from Winter's time at the Bauhaus under his teachers Josef Albers, Wassily Kandinsky and Paul Klee are evident. The small, intimate format directs the viewer's gaze to the essential colour structures and thus enables an immediate, almost meditative examination of abstraction. Mixed media with oil on wove paper. Signed and dated. - Spot-mounted to underlying mat and framed under glass. - Apparently in exceptionally good condition. The colours are fresh, powerful and expressive. - Provenance: Acquired from the estate of the collector and art critic Heiner Stachelhaus in 2002. - Since his participation in documenta I in 1955, Fritz Winter has been considered one of the leading artists of German post-war modernism and a prominent representative of Art Informel. In this work from the artist's main phase, the colour forms appear to be layered on top of each other in a balanced way, and the bold brushwork is clearly more free and experimental than in his early work from the 1950s. At the same time, very early influences from Winter's time at the Bauhaus under his teachers Josef Albers, Wassily Kandinsky and Paul Klee are evident. The small, intimate format directs the viewer's gaze to the essential colour structures and thus enables an immediate, almost meditative examination of abstraction.