10 – Untitled (double sided artwork), 1946
47,4 x 31,5 cm / 18 11/16 x 12 3/8 in.
Charcoal and pastel on paper
Signed and dated lower right: “Schneider / 46”.

14 – Untitled, c. 1947
33 x 25,5 cm / 13 x 10 1/16 in.
Charcoal and pastel on black paper
Unsigned and undated

16 – Untitled, 1948
48,5 x 63 cm / 19 1/16 x 24 13/16 in.
Charcoal on paper
Signed and dated lower right: “Schneider – 48”.
Referenced on the back.

17 – Untitled, 1948
48 x 60,8 cm / 18 7/8 x 23 15/16 in.
Pencil and pastel on paper
Signed and dated lower right: “Schneider 48”.
Referenced on the back.

19 – Untitled (double sided artwork), 1948
48 x 62,6 cm / 18 7/8 x 24 5/8 in.
Charcoal and pastel on paper
Signed and dated lower right: “Schneider – 48”.
Referenced on the back.

25 – Untitled, c. 1948
31,5 x 24 cm / 12 3/8 x 9 7/16 in.
Charcoal and pastel on paper
Signed lower right: “Schneider”. Referenced on the back.

28 – Untitled, 1949
47,2 x 62,9 cm / 18 9/16 x 24 3/4 in.
Charcoal and pastel on paper
Signed and dated lower right: “Schneider – 49 – 9”.
Referenced on the back.

27 – Untitled, 1949
47,3 x 63,3 cm / 18 5/8 x 24 15/16 in.
India ink, oil and pastel on paper
Signed and dated lower right: “Schneider / -49“.
Stamp of the Otto Stangl Gallery and referenced on the back.

31 – Untitled, 1949
31,5 x 23,7 cm / 12 3/8 x 9 5/16 in.
Gouache on paper
Signed and dated lower right: “Schneider / -49”.

26 – Untitled, 1949
24 x 31 cm / 9 7/16 x 12 3/16 in.
India ink and pastel on paper
Signed and dated lower right: “Schneider / –49”.
Referenced on the back.

42 – Untitled, 1950
37,5 x 52,5 cm / 14 3/4 x 20 11/16 in.
India ink and pastel on paper
Signed and dated lower left: “Schneider / – 50”.

48 – Untitled, 1951
47,5 x 62,9 cm / 18 11/16 x 24 3/4 in.
Gouache, India ink and pastel on paper
Signed and dated lower left: “Schneider – 51”.
Referenced on the back.

60 – Untitled, 1951
45 x 62,7 cm / 17 3/4 x 24 11/16 in.
Gouache and India ink on paper
Signed and dated lower left: “Schneider / -51”.
Referenced on the back.

59 – Untitled, 1951
48 x 63 cm / 18 7/8 x 24 13/16 in.
Gouache, India ink and pastel on paper
Signed and dated lower left: “Schneider / -51”.
Referenced on the back.

61 – Untitled, 1951
48,1 x 62,3 cm / 18 15/16 x 24 1/2 in.
Gouache and India ink on paper
Signed and dated lower right: “Schneider / 51”.
Referenced on the back.

68 – Untitled, 1952
45,7 x 64 cm / 18 x 25 3/16 in.
Gouache, India ink and pastel on paper
Signed lower right: “Schneider II / 52”.
Referenced on the back.

67 – Untitled (double sided artwork), 1952
37,5 x 52,5 cm / 14 3/4 x 20 11/16 in.
Gouache, India ink and pastel on paper
Signed and dated lower right: “Schneider 52”.

72 – Untitled, c. 1952
11 x 16 cm / 4 5/16 x 6 5/16 in.
Gouache, India ink and pastel on paper
Unsigned and undated. Referenced on the back.

66 – Untitled, 1952
47 x 62,5 cm / 18 1/2 x 24 5/8 in.
Gouache, India ink and pastel on paper
Signed and dated lower left: “Schneider 52”

73 – Untitled, 1954
49,7 x 64,7 cm / 19 9/16 x 25 1/2 in.
Gouache and India ink on paper
Signed and dated lower right: “Schneider / – 5-54 -”.
Referenced on the back.

81 – Untitled, c. 1955
13,5 x 20,8 cm / 5 5/16 x 8 3/16 in.
India ink on paper
Unsigned and undated. Referenced on the back.

83 – Untitled, 1959
52,7 x 74,3 cm / 20 3/4 x 29 1/4 in.
India ink and pastel on paper
Signed and dated lower left: “Schneider / 9-59”.

“Lyrical Abstraction was vooral belichaamd in Schneider als kubisme in Picasso.” Michel Ragon

Grote pionier van de lyrische abstractie, beeldende en persoonlijke abstractie, samen met Hans Hartung en Pierre Soulages. Gerard Schneider is vertegenwoordigd in Parijs in de Galerie Louis Carré in 1950.

Van 1955-1960 wordt het werk van Schneider tentoongesteld aan de beroemde Kootz Galerij in New York waar een exclusief contract de artiest en de grote Amerikaanse koopman Samuel Kootz verbindt.

Het gebaar, “de vorm Gebaar, de vorm is geboren, lyrisch of dramatisch, met de kleur en technische middelen, zonder verwijzing naar de externe natuur”, aldus Schneider.

Eugene Ionesco zelf sprak over “de oorspronkelijke rijkdom, eruptie” van zijn werk.

Nerveus gebaar en vulkanische samenstelling, de jaren’50 volgen op de “lichtjaren” in de woorden van Michel Ragon, gekenmerkt door het evenwicht van de vormen die reageren op elkaar en de explosie van kleur.

« Je moet naar schilderen kijken zoals je naar muziek luistert. » Schneider zei het graag.

Zijn werk is te ontdekken zoals « een orkest », die « de passie, woede, romantiek », aldus Michel Ragon, uitdrukt.