Herbert
Zangs
Herbert Zangs was a German artist best known for his monochromatic works, reflecting his dedication to an improvised, spontaneous artistic process. If you're looking for original Herbert Zangs prints and editions for sale or would like to sell, request a complimentary valuation and browse our network's most in-demand works.
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Biography
Born on 27 March 1924 in Krefeld, Germany, Zangs emerged as a key figure in the Post-War Art. He attended the Kunstakademie Düsseldorf in 1945-50, where he studied under Otto Pankok and developed friendships with contemporaries including Joseph Beuys.
Zangs's artistic practice is closely associated with the Art Informel movement, which is defined by spontaneous, anti-compositional forms. His experiences during the war and subsequent imprisonment shaped his artistic approach, leading him to visually explore destruction and renewal.
The colour white became a key subject of Zangs' abstract works in the 1950s. He briefly experimented with action painting techniques to create his 'white pictures', using methods such as dripping, spraying, or piling white paint onto surfaces. However, he soon shifted back to using serial sequences and systematic grids. His Verweißungen ('Whitenings'), which include monochrome and polychrome material collages as well as serial works, established him as a pioneer of German informalism and a forerunner of the core principles embraced by the ZERO movement.
In 1960, Zangs received the Vincent van Volkmer Prize, further establishing his reputation as a leading figure in Contemporary Art. His work was exhibited widely, including at the Ostende Biennale, where he was awarded the European Prize for Painting in 1962.
Exhibitions of Zangs' work have showcased his commitment to an experimental practice, often employing materials like cardboard, staples, and various forms of paint. His works, while rooted in the Art Informel movement, defy simple categorisation.
Zangs’ printmaking reflects the same experimental approach that characterises his broader practice. His 2000 etching Less Is More exemplifies this ethos, with its rough, simplified lettering embedded in a textured, monochromatic surface. The phrase itself aligns with Zangs’ interest in reduction and restraint, principles evident in his Whitenings, where he explored materiality and repetition. By embracing a stripped-down aesthetic in his prints, Zangs echoed the process-oriented nature that defines his contribution to the ZERO movement.
In 2003, Zangs died, leaving a legacy defined by his improvisational, anti-aesthetic approach and innovative use of found materials.