Verena Loewensberg

Despite the fundamentally constructive nature of Verena Loewensberg's work, it possessed a sense of great freedom, poetry, and musicality. She employed visual elements that might seem contradictory, incorporating circular shapes, cloud forms, irregular pentagons, sharp and obtuse angles, and colors that extended beyond the primary palette favored by strict constructivists. Her unwavering commitment to visual challenges drove her to resolve them with clarity and precision, leaving no hand-written traces on the canvas.

Biography of Verena Loewensberg

Verena Loewensberg began her studies at the Basel Trade School in 1927, where she was introduced to design and color theory. Later, she pursued a weaver apprenticeship, along with training in dance and choreography. These diverse disciplines left a lasting impact on her artistic work.

Between 1934 and 1936, Loewensberg made several visits to Paris, often accompanied by Max Bill, a close and enduring friend. He introduced her to artists from the 'Abstraction-Création' group, including Hans Arp, Sophie Taeuber-Arp, Theo van Doesburg, and Georges Vantongerloo, all of whom had a lasting influence on her art. By 1936, she had become a part of the Swiss avant-garde. After the war, she gained recognition as the sole female artist in the small Zurich Concrete circle, alongside Max Bill, Richard Paul Lohse, and Camille Graeser.

Starting in the 1960s, her work exhibited independence and autonomy, defying easy categorization. She produced an extensive series of simplified, purely colored compositions that continuously wrestled with the issue of form and reason. Additionally, she created radically reduced, purely linear black-and-white compositions

In 1992, a retrospective of Loewensberg's work took place at the Aargau Art Gallery in Aarau. She also had a significant exhibition at House Konstruktiv in Zurich in 2007 and a major retrospective at MAMCO in Geneva, Switzerland, the previous year.