'B 9/1984', oil on canvas, 100 cm x 75 cm, signed, dated 84, partially stained, Provenance: the authenticity is guaranteed by Heinrich Siepmann's son; Literature: Wvz. Ullrich 803, with col. ill. p. 315; Exhibit-Cat. Kunsthalle Recklinghausen, ''Heinrich Siepmann - Gemälde und Collagen der achttziger Jahre'', 1998, p. 40, with black and white ill. Museum Bochum, ''Heinrich Siepmann - Retrospective'', no. 125; exhibitions: March-April 1988, Kunsthalle Recklinghausen; September-October 1988, Galerie hw, Feldafing; March-April 1989, Städtische Galerie Ravensburg; July 1989, Biuro Wystaw Artystycznych w Krakowie (BWA Krakow); November 1989 - January 1990, Galerie Winkelmann, Düsseldorf.
Heinrich Siepmann, born in 1904 in Mülheim an der Ruhr, belonged to the so-called second generation of Constructivists. Constructivism as a style in painting and architecture emerged in revolutionary Russia in the first half of the 20th century as a completely non-objective art movement based purely on geometric forms. It was decisive for the Dutch movement ''De Stijl'' and influenced many visual artists in Germany, as well as the development and artistic orientation of the Bauhaus. In 1948 Siepmann became a co-founder of the artists' group ''junger Westen'', which provided important impulses for German Informel. The group set itself the goal of restoring Germany's connection to modern art, which had been lost during the National Socialist era. Inspired by his contact with German Informel, Siepmann developed his own distinctive formal language within Constructivism, which throughout his career always moved in a tension between geometric rigour and free abstraction. Siepmann remained close to his hometown of Mülheim an der Ruhr throughout his life. When he died there in 2002, he left behind an oeuvre that includes over 1200 paintings, as well as numerous collages and sculptures.
