1989 Constant Poster, Woman Who Injured a Bird with a Dead Leaf 1949, Cobra Group, Reflex Movement, artist gallery exhibition wall art decor

This Constant Anton Nieuwenhuys exhibition poster is from the Lenbachhus in Munich, Germany for an exhibition in 1989 featuring, "femme pleurante blessee par une feuille morte" or "Woman Who Injured a Bird with a Dead Leaf". It shows two figures, a woman and a bird, and some leaves. The story is that Constant took his wife to visit fellow CoBrA artist Asger Jorn on the Danish island of Bornholm, where Jorn and his wife eloped together, taking two of their daughters and leaving their son with Constant. Jorn is depicted as a fallen leaf.
He was a member of CoBrA, a European avant-garde movement active from 1948 to 1951. The name was coined in 1948 by Christian Dotremont from the initials of the members' home countries' capital cities: Copenhagen (Co), Brussels (Br), Amsterdam (A).
Dimensions: 33 in x 23 in (84 cm x 60 cm)
Condition: the photos are a little overexposed, the colour is good.

Constant Anton Nieuwenhuys was a Dutch painter. In 1946 he travelled to Paris for the first time where he met the young Danish painter Asger Jorn. The friendship between Jorn and Constant later formed the basis for the avant-garde movement CoBrA. In July 1948 Constant founded Reflex Experimentele Groep in Holland with Corneille, Karel Appel and his brother Jan Nieuwenhuys. The first edition of the magazine Reflex was published with a manifesto written by Constant. For Constant art had to be experimental. He had deducted this from the French word 'expérience' and believed that art springs from experience of the artist and is continuously changing. In the manifesto he stated that the process of creation is more important to the experimental artist than the work itself; it is a means to reach spiritual and mental enrichment. Also, the work of experimental artists is a mirror image of changes in the general perception of beauty.

What is special about exhibition and gallery posters is that they are an affordable way of getting good, unique art on the walls, as although it is not an artists original, neither is it something that has been mass reproduced.

Because of the age of these posters, there are areas of wear and tear, particularly on the edges. I have done my best to take photos where they are torn. The good news is that when framed, the tears press up well against glass, and edges can be hidden by mats. Any wear picked up from years are part of the charm.

These posters are sent as unframed. They are delivered in a cardboard tube for protection.

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