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Karl Otto Götz (1914 Aachen- lebt und arbeitet in Wolfenacker/Westerwald). Beluga. 1969 Mixed media on canvas. Signed lower left. Once more signed, dated and titled on the reverse.175 x 200 cm (68,8 x 78,7 in). In addition: Black-and-white photo of the artist by Robert HäusserProvenienz: Collection Prof. Robert Häusser (acquired directly from the artist). Ausstellung: Quadriga, Frankfurter Kunstverein, Frankfurt n. d., no. 21 (ill.).Karl Otto Götz, Kunsthalle Mannheim, 31.10.-30.11.1969, cat.no. 40, ill. (with the label on the stretcher). K. O. Götz, exhibition cat. Galerie Hennemann, vol. 18, published by Manfred de la Motte, Bonn 1978, p. 73 (ill.).Karl Otto Götz started painting when he went to secondary school in 1924. Due to the National Socialist's take-over Götz was banned from painting and exhibiting due to his abstract splash paintings and surrealistic works. At the end of the war Götz executed abstract compositions, surealistic photo-experiments and abstract-figurative monotypes. He abandoned figurative art altogether in 1949 and was the first German to join the COBRA group. After co-founding the Frankfurt 'Quadriga', an artist group representing a type of Tachism influenced by Wols and Automatism, his work changed drastically in 1952: the forms, which until now had still been well-defined, were replaced by a new, more dynamic style in a special raking technique which the artist still uses. Götz was a co-publisher of the magazine 'Meta' from 1948 to 1953 and taught as a professor at the Kunstakademie in Düsseldorf between 1959 and 1979. During this time he influenced artist personalities as diverse as HA Schult, Sigmar Polke and Gerhard Richter. Karl Otto Götz's art occupies a special niche in the broad-ranging gamut of Informel. It is informed by an avid interest in science and technology, a love of experimentation and aleatoric combinations coupled with an urge for systematisation and a preoccupation with Surrealism. Movement is a determinant of his painting. 'I write my pictures rapidly following intensive meditation on the schema concerned. By being so quick I sacrifice some control over my writing. This sacrifice is compensated for by squiggles, strokes, passages and squirts that cannot be realised in any other way, which, however, I owe to my concept to attain. [.] The sole decisive factor for a finished picture is the final quality control: accepting it or rejecting it' (Götz, quoted in: Exhibition cat. Kunsthalle Mannheim, n. p.). To the present day Karl Otto Götz has been preoccupied with translating this holistic aesthetic concept. It has led to continually new pictorial solutions that are rich in variations, extraordinarily powerful and charged with a life-affirming dynamic. Götz has been living and working in Wolfenacker in the Westerwald since 1975. Karl Otto Götz is one of the most important members of the German Informel. [ME]Good overall impression. Isolated with minor bumps and scratch marks there with minor craquelé or tiny colour chippings. Upper left image corner with small retouching.