Alexander Georg Rudolf Bauer (February 11, 1889 – November 28, 1953) was a German-born painter and a key figure in early abstract and non-objective art of the twentieth century. He achieved international fame as a member of the avant-garde circle around Der Sturm in Berlin and later became one of the core artists in Solomon R. Guggenheim's non-objective art collection.

Bauer was born in Germany and developed within Berlin's progressive artistic networks in the years before and during World War I. He joined Der Sturm, the influential magazine and gallery platform of Herwarth Walden, which played a crucial role in the spread of expressionism, abstraction, and experimental art in Europe. Within this context, Bauer encountered innovative ideas about color, form, and spirituality in art.

In his painting, Alexander Georg Rudolf Bauer made a clear shift away from figuration toward abstract and non-objective compositions. His work is characterized by powerful color fields, dynamic forms, and a strong sense of rhythm and balance. Like contemporaries such as Wassily Kandinsky and Rudolf Bauer (with whom he is often mentioned in the same breath), he saw abstraction not as merely a formal experiment, but as a means of expressing inner, spiritual, and cosmic experiences.

Bauer's oeuvre attracted the attention of the American collector Solomon R. Guggenheim, who dedicated himself to collecting non-objective art in the 1930s and 1940s. The work of Alexander Georg Rudolf Bauer was included in this groundbreaking collection and thus played a significant role in the establishment of what would later become the Solomon R. Guggenheim Museum. His paintings are among the early foundations of the institutional recognition of abstract art in the United States.

Although Bauer was primarily appreciated within avant-garde circles during his lifetime, his significance in art history has been re-acknowledged in recent decades. Today, Alexander Georg Rudolf Bauer is considered a key representative of the European abstract avant-garde, whose work bridges the gap between the expressionism of Der Sturm and the international breakthrough of non-objective art.

He died in 1953, but his legacy lives on in museum collections, art historical research, and the enduring influence of his work on the development of abstract painting in the twentieth century.