Imi Knoebel

Imi Knoebel’s minimalist and abstract works explore the relationship between colour, form and space. Born Klaus Wolf Knoebel in Dessau, Germany in 1940, he adopted the name ‘Imi’ during his studies at the Kunstakademie Düsseldorf after meeting fellow art student Rainer (Imi) Giese. Knoebel’s artistic journey has been deeply influenced by the principles of the Bauhaus, particularly through his early focus on geometry and the investigation of structure.

Knoebel first gained attention in the 1960s with his series ‘Linienbilder’, or line paintings (1966–69), which were an exploration of the dynamic relationships between line and space. In these early experiments, Knoebel avoided traditional painting techniques, focusing instead on the purity of form and structure. His work from this period is often described as analytical, with a strong emphasis on geometric abstraction.

Preoccupied with the encounter of colour with its material support, Knoebel’s geometric abstraction builds on the legacy of Piet Mondrian and Kazimir Malevich. His interests are often traced to his study under Joseph Beuys at the Kunstakademie Düsseldorf, where he met — and shared a studio with — Blinky Palermo. This period, however, was predated by the Bauhaus influence of the Darmstadt Werkkunstschule, where Knoebel learnt the colour theories of László Moholy-Nagy and Johannes Itten.

A great example of Knoebel’s minimal compositions, pared back vocabulary of forms and commanding use of colour is his seminal installation Raum 19 (1968) — now part of the collection of Dia Beacon in New York. Conceive as a student and named after his studio at the Kunstakademie, Raum 19 is a mutable ensemble of 184 wood and fibreboard forms that allows infinite reconfigurations.

In the 1970s, Knoebel’s practice evolved, and he began incorporating vivid hues into his compositions. This shift is particularly evident in his monumental series ‘24 Farben – für Blinky’ (1977), a tribute to his friend Blinky Palermo, which marks Knoebel’s transition into vibrant colour fields. His use of colour became central to his work, combining simplicity with expressive intensity.

Knoebel pushes the boundaries of painting into the realm of sculpture. His large-scale installations often combine industrial materials such as aluminium, Plexiglas and Masonite, alongside traditional paint, resulting in a hybrid approach that bridges painting and three-dimensional art.

Imi Knoebel dedicates his career to the examination of all non-representational art. He has been exhibited extensively with solo exhibitions in Düsseldorf, Zurich, Amsterdam, Munich and more.