An abstract painting represents nothing; it exists independently. It is a world unrelated to the visible form of things. The abstract work contains lines, shapes, and colors, each with its own expression. Through purely pictorial means, it creates an atmosphere, a mood that leaves the viewer complete freedom for their own interpretation, conditioned by the interplay of forms and colors.

This work renounces the representation of the world to render another, a spiritual reality, visible. The designation "abstract painting" is a convention. The terms "non-figurative painting," "concrete painting," and "absolute painting" are also possible and ultimately mean the same thing. While painting that represents and describes objects and recounts events merely copies (more or less) the visible world, abstract painting creates freely, obeying an inner necessity, that which may be invisible, but nevertheless exists. It is not a painting that departs from reality. The starting point of an abstract work is always non-figurative and resides within the work itself. Is not the reality of these unassailable expressions—such as red, blue, yellow, up, down, right, left, movement, rhythm, harmony, space, and balance—part of the world and of people's lives, just like objects? Is not the act of looking equivalent to action? Is abstract art like music?

Abstract painting can indeed be compared to music. What our ears have long accepted, our eyes must now learn: the existence of an independent and absolute creation. (…)

Jean Leppien in "Kandinsky, Bloc, Deyrolle, Istrati, Leppien, Mortensen, Poliakoff"

Exhibition at the Staatlichen Schule für Kunst und Handwerk, Saarbrücken – March 19 April 9, 1954. Organized by Herta Wescher and Jean Leppien.