Imi Knoebel

Imi Knoebel is an artist whose works span the realms of minimalist art, abstract painting, and sculpture. His artistic style and formal considerations often invite comparisons to the esteemed principles of high modernism embodied by figures like Kazimir Malevich and the Bauhaus movement.

Biography of Imi Knoebel

Imi Knoebel was born Klaus Wolf Knoebel in 1940 in Dessau and now lives and works in Düsseldorf, Germany.  Between 1962 and 1964, Knoebel pursued studies at the Darmstadt "Werkkunstschule." Following this, from 1964 to 1971, he studied under the tutelage of Joseph Beuys at the Kunstakademie Düsseldorf.

Knoebel's artistic exploration delved into the interplay among space, canvas, and color. Renowned for his minimalist and refined creations, Imi Knoebel's style and formal approach echo the high modernist ideals found in both Suprematism and the Bauhaus movement.

Between 1966 and 1969, Knoebel dedicated himself to a series of "Linienbildern," or line paintings, comprising 90 panels. Additionally, he produced another series titled "Linienbilder," consisting of 250,000 drawings on DIN A4 sheets during the years spanning from 1969 to 1973/75.

In the 1970s, Knoebel gained widespread recognition for his "Raum 19" series, a collection of abstract paintings and sculptures that pushed the boundaries of traditional artistic mediums. These works, which featured modular elements arranged in dynamic configurations, challenged viewers to reconsider their perceptions of space and dimension.

Knoebel's oeuvre is widely celebrated and can be found in numerous public collections worldwide, including prominent institutions such as Dia:Beacon in Beacon, New York, The Museum of Modern Art in New York City, Fonds Regional d'Art Contemporain (FRAC) in France, Kunstmuseum St. Gallen in Switzerland, Essl Museum Klosterneuburg in Austria, among others. 

Imi Knoebel's Art Style

From 1968 to 1970, Knoebel embarked on his "Innenprojektionen" (Interior Projections) series, employing black-and-white photographs and using empty slide projections. This technique produced empty squares of light, projected onto walls or into enclosed, darkened spaces.

In the mid-1970s, Knoebel transitioned towards a more gestural application of color, working on layered plywood boards or metal plates. This marked a departure from his earlier works and introduced a new dimension to his artistic expression.

His painting style evolved to feature a gesturally expressive use of color on panels composed of layered plywood and metal, strategically arranged in space. In the 1980s, Knoebel further explored his artistry by incorporating geometric elements and directing his attention towards portraiture.