Otto Fried

Works by Otto Fried are to be found in numerous private and public collections, including the Musée nationale d'art moderne, Centre Georges-Pompidou in Paris, the Metropolitan Museum of Art, and the Museum of Modern Art in New York.

• Name — Otto Fried • Birth Name — Otto Siegmund Fried • Born — 13 December 1922 • Birthplace — Koblenz, Germany • Died — 31 December 2020 • Place of death — Meudon, Hauts-de-Seine, France • Field — Paintings, drawings, sculptures, objects • Training — Oregon State College, Corvallis, University of Oregon, Eugene, Studio of Fernand Léger, Académie de Montmartre Paris

Otto Siegmund Fried was the younger of the two children of Robert Fried and Rebecca (Ricka) Fried, née Salomon. He grew up in Horchheim at the Rhine river, now a district of Koblenz, where his father ran a butchery. As life in Nazi-ruled Germany became increasingly ominous the parents located distant relatives in Portland, Oregon. In 1936 they sent 13-year-old Otto into their care. Before they could follow with Otto's older brother Ernst, his brother died as a result of anti-Semitic violence in 1937. In 1938 his father was interned in the Buchenwald concentration camp for several months. In 1939, finally, his parents managed to escape to the US, where Otto attended high school. In 1943 Otto Fried was drafted into military service and enlisted in the Air Corps USAAF. Having served in India, China, Burma and in the Caribbean, the GI Bill enabled him upon his return in 1946 to pursue a university education in the US and to study abroad.

In his first year at Oregon State College he took biology classes but – after a summer course in studio art – transferred to the Arts and Architecture Department at the University of Oregon in Eugene; he graduated in 1949. After an exhibition of art from the American Northwest that allowed him to show his work alongside works by Mark Tobey, Louis Bunce, Morris Graves, Kenneth Callahan and Carl Morris, Otto Fried travelled to Paris. There he worked in Fernand Léger's studio at the Académie de Montmartre, which Lager ran together with André Lhote. His painting professor at the University of Oregon, the "legendary teacher" Jack Wilkinson, who had been in touch with Fernand Léger may have pointed him into this direction. During the two and a half years spent in France, Fried took part in the Salon d'Automne, the Salon de l'Armée and the Salon de Mai at the Musée d'Art Moderne de la Ville de Paris as well as in the Grand Cycle de Peinture in Deauville and in an exhibition of Léger's class at the Galérie Jeanne Bucher, a gallery representing Georges Braque, Nicola de Staël, Wassily Kandinsky, Otto Freundlich, and Paul Klee. Otto Fried was granted his first solo exhibition at the Parisian American Library. He collaborated with his friend, poet and philosopher Larry Margolis, on a small volume, entitled WE3, consisting of texts by Margolis and paintings by Fried, published in 1950 by Somogy in Paris.

Returning to the United States, Otto Fried decided against a university position in Oregon and in favor of a life as an independent artist in New York. There he met the painters associated with Abstract expressionism without joining the movement. He made friends with filmmakers and musicians such as Chou Wen-chung, John Lowenthal, Gene Forrell, and Mildred Forrell, and he entered into a first marriage that did not last. Through sculptor Kenneth Snelson, his student friend, who had moved to Manhattan, too, Fried met R. Buckminster Fuller, who would encourage him. Fried made the acquaintance of the art collector and posterior museum founder Warren M. Robbins, who served as cultural attaché for the State Department at the United States Embassy in Bonn. Warren helped him to his first solo exhibitions in Germany, supported by the United States Information Service. After these shows in Koblenz, Darmstadt and Tübingen, works by Fried also went to a gallery in Salzburg, Austria. Museum purchases followed soon: In 1960 and 1961 the Metropolitan Museum of Art acquired some of his monotypes. In the United States, Fried had initially become known for his works in this particular technique that generates unique prints.

After his marriage to Micheline Haardt, a French fashion journalist, who would later take on leading positions in the European fashion industry, Otto Fried relocated to Paris in 1962. Until 2010 he kept an additional apartment and studio in New York, where he used to work for a couple of months of every year. In the USA, his new works were repeatedly exhibited at the Irving Gallery in Milwaukee, Wisconsin, at the Coe Kerr Gallery and at Achim Moeller Fine Art in New York City as well as at the Fountain Gallery and the Laura Russo Gallery in Oregon. The Paris galleries Gianna Sistu, Hector Brame, and subsequently Brame & Lorenceau showed his works created in France. Major solo exhibitions took place at the Mittelrhein Museum in Koblenz in the 1970s, at the Fuji TV Gallery in Tokyo in the 1980s, and at the Portland Art Museum in the 1990s. In addition to the Metropolitan Museum of Art, the MoMA, and the Centre Pompidou, the Rose Art Museum, the SUArt Galleries in Syracuse, the Indianapolis Museum of Art, the Portland Art Museum, the Jordan Schnitzer Museum in Eugene, and the Mittelrhein Museum acquired works by Otto Fried as well as private collectors, public art collections of leading banks and other large corporations in New York, Atlanta, Dallas, Seattle, San Francisco, Geneva and Tokyo. In December 2020, the Friends of the Koblenz Art Museums purchased one of Fried's largest paintings for the Ludwig Museum's collection in the Deutschherrenhaus. This work, Untitled (1998), was already on view in the Ludwig Museum's Otto Fried exhibition that summer, the title of which echoes that of one of Otto Fried's metal reliefs: Otto Fried. Heaven Can Wait – Heaven Can't Wait. This purchase and his exhibition were Otto Fried's last during his lifetime. Three and a half years after the death of his wife Micheline Fried, Otto Fried died on December 31, 2020. He is buried in the Père Lachaise Cemetery in Paris.

• Illustration — Otto Fried in his studio in Paris 2004 Fried's fascination for fauna and flora, for land and water and for the earth and the universe determined his work until his later years: His drawings and paintings combine figurative and landscape elements with abstract forms. According to Swiss art historian and art critic Pierre Courthion "in Fried's work lyricism animates geometry". Art collector Paul Haim draws attention to the lines of Oregonean coastal formations and wooded mountains running – more or less obviously – through many of Fried's pictures. As art historian and gallerist Sylvie Brame puts it, Otto Fried was in a "permanent dialogue with nature". Applying the technique of the monotype Fried had an element of chance play a role in the creation of his still pictures and used it as a means of abstraction. In the early 1970s Fried experimented with cut-outs of monotypes, using them as source material for collages, which featured the circle as the actual subject of these works. Circles had, in retrospect, already appeared in his painted beach and cityscapes of the 1950s. In his blue and white seascapes of the 1970s, the boats and sails on Fried's canvas turned into circles and triangles. Fried's circles became more and more independent and moved into the center of his play with colors and forms. In the 1980s, his painting grew to be more sculptural: His circles converted into spheres; they moved in front of each other like celestial bodies or opened up to provide a view of their core. When Fried turned to mixed media in the 1990s and worked with metal foils and acid, the resulting reliefs, vice versa, adopt peculiarities of paintings. At the end of the 1990s, working with a broad brush on large canvases, he dissolved the hammered-looking circular forms of the 1970s and the densely spotted planets of the 1980s in large, powerful circular sweeps. In the first decade of the 21st century mountains and coasts return to his canvases. Building on the contrast of flatly applied and dripping oil paint, Fried re-invited randomness and allowed the paint to become active; he let his commemorative paintings shed "tears", as Lisa Forrell understands his late landscapes of the mind. Especially in the 1980s and 1990s, he designed functional objects such as plates made of Limoges porcelain, drinking glasses made of Murano glass and rugs, commissioned and produced by the Cogolin manufactory. Together with blacksmith Jean Prévost he worked on numerous small and large sculptures and pieces of furniture as well as on further objects made of metal – from andirons, bookends, and doorknobs to furniture to Esprit de la Forêt (1994), a three-meter high iron fountain, which is located in a sculpture park La petite escalère in the south of France. At times Otto Fried worked as a sculptor and designer, he drew extensively – often in large formats – and he painted at all times. Beyond these artistic disciplines he used to "play", as he would call it, with whatever material at hand – with shells and stones, with branches and wire. The most telling one of the photos of what has perhaps been the first full-page newspaper article about Otto Fried shows him with a small, partly flexible sculpture that allows him, in his words "to investigate types of rhythms on a single threat of metal".

• American Library, Paris, 1951 • Reed College Gallery, Portland, Oregon, 1952 • University of Oregon, Eugene, Oregon, 1953 • The Oregon Journal Lobby, Portland, Oregon, 1952 • Wellons Gallery, New York, 1956 • U.S.I.S. Deutsches Herrenhaus Koblenz, 1958 • U.S.I.S. Kunstgewerbeschule Tübingen, 1959 • U.S.I.S. German American Cultural Institute Darmstadt 1960 • Welser Galerie, Salzburg 1960 • Leger Gallery, White Plains, New York, 1961 • Arlan Gallery, Pittsburgh, Pennsylvania, 1961 • Oshkosh Museum, Wisconsin, 1961 • Revel Gallery, New York, 1963 • Galerie Vendome, Pittsburgh, Pennsylvania, 1964 • Galerie Hector Brame, Paris, 1964, 1968, 1969 • Byron Gallery, New York, 1966 • The Fountain Gallery, Portland, Oregon, 1968, 1973, 1979, 1982, 1986 • Museum of Art, University of Oregon, Eugene (today: Jordan Schnitzer Museum), 1968 • Irving Gallery, Milwaukee, Wisconsin, 1969 • Coe Kerr Gallery, New York, 1973, 1975 • Galerie des Grands Augustins, Paris, 1977 • Mittelrhein Museum, Koblenz, 1978 • Fuji TV Gallery, Tokio, 1979, 1985 • Galerie Valmy, Paris, 1980 • The Washington Design Center, Washington D.C., 1983 • Galerie Gianna Sistu, Paris, 1987, 1990 • Foster/White Gallery Seattle, 1989 • Achim Moeller Fine Art, New York, 1991, 1995 • Laura Russo Gallery, Portland, Oregon, 1993, 1999 • Galerie Brame & Lorenceau, Paris, 1997, 2002, 2006 • Portland Museum of Art, Portland, Oregon, 1999 • Denise Café Gallery, New York 1999 • Ludwig Museum, Koblenz, 2020