Produced on the occasion of the exhibition Otto Meyer-Amden: Vorbereitung at Galerie Buchholz, New York, 26 September–2 November, 2019.

Otto Meyer-Amden (1885–1933) was a Swiss painter and graphic artist renowned for his devotional works that explore themes of human affection, meditation, and spiritual inner movement through a blend of figuration and geometric abstraction.

In 1912, after studies Zurich, Munich and Stuttgart, he relocated to the village of Amden in eastern Switzerland—later incorporating it into his surname—and spent much of his career there until 1928, producing drawings and paintings in media such as pencil, chalk, Indian ink, watercolour, and oil that emphasise connective density, simplicity, and truth derived from spiritual necessity.

Produced on the occasion of the exhibition Nationalgalerie Berlin, 5 December, 1970–1 February, 1971; Neuer Berliner Kunstverein e.V., 21 February–21 March, 1971; Kasseler Kunstverein, Kunsthalle Bremen, 11 April–23 May, 1971.

Otto Meyer-Amden (1885–1933) was a Swiss painter and graphic artist renowned for his devotional works that explore themes of human affection, meditation, and spiritual inner movement through a blend of figuration and geometric abstraction.

In 1912, after studies Zurich, Munich and Stuttgart, he relocated to the village of Amden in eastern Switzerland—later incorporating it into his surname—and spent much of his career there until 1928, producing drawings and paintings in media such as pencil, chalk, Indian ink, watercolour, and oil that emphasise connective density, simplicity, and truth derived from spiritual necessity.

*Please note this publication is secondhand and may have some traces of previous ownership.

Otto Meyer-Amden (1885–1933) was a Swiss painter and graphic artist renowned for his devotional works that explore themes of human affection, meditation, and spiritual inner movement through a blend of figuration and geometric abstraction.

In 1912, after studies Zurich, Munich and Stuttgart, he relocated to the village of Amden in eastern Switzerland—later incorporating it into his surname—and spent much of his career there until 1928, producing drawings and paintings in media such as pencil, chalk, Indian ink, watercolour, and oil that emphasise connective density, simplicity, and truth derived from spiritual necessity.

*Please note this publication is secondhand and may have some traces of previous ownership.

In the transition from Symbolism to international modernism that occurred between Ferdinand Hodler and Mondrian, no other Swiss artist succeeded in creating an oeuvre as confident and idiosyncratic as that of Otto Meyer-Amden. Born in 1885 in Bern, Meyer initially trained as a lithographer before attending the School of Arts and Crafts in Zürich. Following a semester at the Academy of Arts in Munich, he joined the Royal Academy of Fine Arts in Stuttgart in 1907, where he studied for a short time under Adolf Hölzel, whose interest in abstract formal principles set him apart from the prevailing naturalism of the time. It was there that he encountered Willi Baumeister and Oskar Schlemmer, with whom he would go on to maintain a close exchange until his death, exerting a strong influence on the pair.

In the transition from Symbolism to international modernism that occurred between Ferdinand Hodler and Mondrian, no other Swiss artist succeeded in creating an oeuvre as confident and idiosyncratic as that of Otto Meyer-Amden. Born in 1885 in Bern, Meyer initially trained as a lithographer before attending the School of Arts and Crafts in Zürich. Following a semester at the Academy of Arts in Munich, he joined the Royal Academy of Fine Arts in Stuttgart in 1907, where he studied for a short time under Adolf Hölzel, whose interest in abstract formal principles set him apart from the prevailing naturalism of the time. It was there that he encountered Willi Baumeister and Oskar Schlemmer, with whom he would go on to maintain a close exchange until his death, exerting a strong influence on the pair.

*Please note this publication is secondhand and has some traces of previous ownership.

In the transition from Symbolism to international modernism that occurred between Ferdinand Hodler and Mondrian, no other Swiss artist succeeded in creating an oeuvre as confident and idiosyncratic as that of Otto Meyer-Amden. Born in 1885 in Bern, Meyer initially trained as a lithographer before attending the School of Arts and Crafts in Zürich. Following a semester at the Academy of Arts in Munich, he joined the Royal Academy of Fine Arts in Stuttgart in 1907, where he studied for a short time under Adolf Hölzel, whose interest in abstract formal principles set him apart from the prevailing naturalism of the time. It was there that he encountered Willi Baumeister and Oskar Schlemmer, with whom he would go on to maintain a close exchange until his death, exerting a strong influence on the pair.