nedjelja, 31. ožujka 2013.

Eugene Von Bruenchenhein (1910-1983) - As far as science goes we have only looked in the mirror, not at what is concealed behind



Još '50-ih Von Bruenchenhein je vidio ono što miksroskopi i teleskopi vide tek danas. Ali i više - vidio je da je znantvena materija samo osnovnoškolsko štrebersko pojednostavljenje beskrajnih eruptivnih energija.


www.vonbruenchenhein.com/



Von Bruenchenhein was born in Wisconsin in 1910, and worked in a bakery during the 10 years (1954-1963) that the bulk of his work was completed. Very early on, Von Bruenchenhein would paint on the panels of boxes that he would bring home from the bakery. Then, he moved into painting on canvas with brushes. But, in 1954, Von Bruenchenhein’s technique changed and he started to paint on board with his fingers. In 1955, he began to add a white or cream base coat and he would scrape the paint with bakery tools, combs, and quills which would reveal the undercoat, adding an entirely new dimension to his work. Finally, in 1956, Von Bruenchenhein had mastered his own technique, and he would spend the next 5 years painting like a maniac!
Von Bruenchenhein produced almost 1,100 paintings in his lifetime. Unfortunately, he was never successful in selling his work or gaining any recognition during his lifetime. It has only been in the last several years that the importance of Von Bruenchenhein’s work has come to be realized. As part of the Centennial Celebration of Eugene Von Bruenchenhein, a huge collection of Von Bruenchenhein’s work is available in 22 separate galleries on www.vonbruenchenhein.com for download as high-resolution files! I recommend downloading a couple of these amazing pieces of art and having them printed and framed before the offer is no longer available!



EUGENE  VON  BRUENCHENHEIN
 1910 – 1983

No 796  The Filament of Ages
April 12 – 1959  
Oil on Masonite panel
24 x 24 inches

OUR NIGHT OF LIFE

Paintings, Sculpture, Photography, Poetry, Philosophy
   
Our Night of Life
   In dreams we float
To other worlds
And other shores,
To salvage what we may,
To build and beautify
Our night of life.

Eugene Von Bruenchehein, “Freelance Artist, Poet and Sculptor, Inovator [sic], Arrow maker and Plant man, Bone artifacts constructor, Photographer and Architect, Philosopher”, never really found contentment in the real world, except in his love for his wife Marie.  His was the world of dreams, ideas, of escaping, traveling to far off undiscovered worlds beyond Earth.  
I journeyed to the edge of Universe
Where stars collide and end in dust
The junk yard of the Universe
Where inky darkness lasts from
millenium to millenium
Far – Far – into the unwanted portion of time. . .
 Born in the year that Halley’s comet passed by our planet, Von Bruenchenhein spent much of his life exploring the unseen and unexplained relationships inherent in living things – human, cosmic, and everything in between.  He sought and provided answers to the largest of questions.  “Why is there no wall beyond the fringe of Universe?  Because something always lies beyond a wall, And because no Universe can be contained.”  Our Night of Life celebrates this extraordinary vision, through which nature is infinitely fluid, continually revealing new aspects of itself.
It is now twenty-four years since Eugene Von Bruenchenhein’s works came into public light, and since that time our examination of his work still has not had the time to fully comprehend the many facets of his artistic vision, within the many mediums in which he worked.  The works themselves are journeys into their meanings, but the artist’s writings – less well know than the paintings, sculptures, and photos – add yet another dimension to his world.  Von Bruenchenhein formulated elaborate “Bruenchenesian” theories, postulating on the complexity of nature and our ability to know it.  In one selection he suggests that only one of nature’s planes is visible through a scientific lens:

                        We consider ourselves so smart and yet after the
                        great length of time man has lived on Earth he has just
                        scratched the surface of knowledge. . . As far as science goes
                        we have only looked in the mirror, not [at] what is concealed
                        behind. . .

Von Bruenchenhein spent hours looking at drops of water through a microscope, and was equally concerned with a macrocosmic order, evident in musings and paintings about the worlds beyond ours.  He made exceptionally convincing paintings of  “Lines of Force Contained” and “Lines of Force Released”, pictorializing what science could only express in numeric formulae.  Now, one only needs to pick up a New York Times daily newspaper in which a recent photograph by the Hubbell Telescope is featured revealing some amazing new cosmic cataclysm or phenomena to convince us that, indeed, Eugene Von Bruenchenhein had already traveled there. 
 In that vein of awe and respect, the Carl Hammer Gallery re-visits the art work by this amazing personality in hopes that we may thus honor him and his unique vision.  Confronted once again with his limitless ability to interpret organic potentiality – in paintings and photographs, and sculptures of clay, bone, and concrete, Von Bruenchenhein’s works remind us that the mirror has another dimension.  And thanks to his remarkably expansive mind, we too can marvel as we travel with him in journeys to the edge of the universe.


The Filiment [sic] of Ages
April 12, 1959, No. 796
Signed
Oil on masonite panel
24 x 24 inches
GS 309 CH
Jan 1, No. 535
Signed by artist
Oil on masonite panel
24 x 24 inches
GS 218
March 12, 1955, No. 184
Oil on masonite panel
17 x 15 inches
GS 90
To Everlasting Love, Hope, Faith
Wand of the Genii
Aug 17, 1955, No. 308
Signed
Oil on masonite panel
17 x 15 inches
GS 136

Oct 20, 1955
Signed
Oil on masonite panel
24 x 28
GS 148
Space Age
Oct 10, 1959, No. 844
Oil on masonite panel
24 x 24 inches
EVB/ET BB-P-129

Sec Transit Gloria Mundi
June 14- 1955, No. 264
Signed
Oil on panel
17 x 15 inches
GS 117

Kings Row
June 26, 1955, No. 271
Signed
Oil on panel
15 x 17 inches
GS 121
March 7- 1960, No. 862
Signed
Oil on masonite panel
24 x 21 inches
GS 333B
Sept 30, 1959, No. 842
Signed
Oil on masonite panel
24 x 24 inches
GS 325
May 9, No. 871
Signed
Oil on masonite panel
24 x 24 inches
GS 339
Predomilee
July 5, 1955
Signed
Oil on panel
17 x 15 inches
GS 122

Predomilee
July 5, 1955
Signed
Oil on panel
17 x 15 inches
GS 122
Chinese Influence. 
Date N/A. 
Oil on corrugated cardboard. 
14 x 17
GS 20
Atomic Age 1945/ 1955. 
February 22, 1955. 
Oil on panel. 
17 x 14
GS 86
Study in Lines of Force. 
Sept. 11, 1955. 
Oil on panel. 
17 x 14
GS 140
 Untitled. 
Sept. 22, 1955.
Oil on panel.  1
4 x 17
GS 141 
 Untitled. 
Sept. 28, 1955.
Oil on panel. 
17 x 14
GS 144
 Untitled. 
Oct. 12, 1955. 
Oil on panel. 
14 x 17
GS 147

Untitled.  Mar. 3, 1957. 
Oil on Masonite panel. 
24 x 24
GS 230B

Untitled. 
May 19, 1960. 
Oil on Masonite panel. 
24 x 20
GS 342A
Study of Forms. 
Dec 27, 1960. 
Oil on Masonite panel. 
24 x 20
GS 351
Untitled Triptych of Marie
Positive and Negative silver gelatin prints (3)
3.5 x 3 inches each
GSVB 7637

Untitled Portrait of Marie
B/W silver gelatin print
9 x 7 inches
GSPH 1255
Untitled Montage Photo of Marie
B/W silver gelatin print
3.5 x 2.5 inches
GSPH 2856
Untitled Montage Photo of Marie
B/W silver gelatin print
3.5 x 2.5 inches
GSPH 5725
Untitled Montage Photo of Marie
B/W silver gelatin  print
3.5 x 2.5 inches
GSPH 5725
Ceramic Crown
Painted green and red
VBCR F 28
Ceramic Crown
Painted gold
VBCR F 44
Ceramic Crown
Painted green and red
VBCR 29
Leaf vase form w heart motifs
Ceramic and paint
VBC MS 207
Assortment of bone and ceramic pieces
Pair of Chicken bone throne chairs
Chicken bones, paint and glue
VBBF 101 and 87

Installation of ceramic sculpture and chicken bone thrones

Concrete Mask Construction
Concrete and paint
37 x 20 x 6 inches
Concrete Mask Construction
Concrete and paint
30 x 20 x 6 inches






Series of limited ed. Iris prints made from original Kodacolor slide
10 x 7 inches each (6)



EUGENE VON BRUENCHENHEIN
(1910-1983)






What Sort of Impulse?

I’ve been thinking more about Eugene Von Bruenchenhein since writing about him yesterday, mainly about how he continued creating prolifically throughout his life, all the while keeping it pretty much to himself and his wife and perhaps a friend or two.  I try to compare his obsession with my own need to paint and I find they are quite different or at least appear to be.
I don’t think I could do what artists like Von Bruenchenhein and other private artists have done.  I don’t think I could maintain that intensity in the work if I thought it was only for myself.  I suppose these artists get their satisfaction in the actual creation of the work and  that, in itself, is their reward.  That makes sense but is different from what drives my own obsessive need to paint.
I think that the actual creation of the work is vital to me  but more important  is the communication that comes with each piece.  Knowing that the work is going to be seen and is going to be able to reach out to others is the driving point in what I do.  If I thought that the work would only be seen by myself I probably wouldn’t create it, wouldn’t feel the need.  The painting itself is an expression of something I hold inside already and wish to get across to others so, if I’m not going to show it to others, why do it
That being said, there is work that I do periodically for only myself.  I don’t do these pieces in the prolific manner of Von Bruenchenhein but those few I do are meant to stay with me and are painted only to be seen by me.  They are private expressions, different parts of my own personal prism that will remain hidden from sight.  Perhaps I do this because so much of my life is shown in relation to my work and feel the need to have something that is created only for my eyes.  That is different than the obsessive creators.  Maybe because their urge to create is so different than my own is why I find these possessed few so fascinating. 

never met a girl like you before

Eugene Von Bruenchenhein (1910-1983) was a self-taught artist from Wisconsin. He worked in a wide range of media, including painting, sculpture, ceramics, photography and poetry. Below are images of his wife Marie (Eveline Kalke Von Bruenchenhein - "Marie").

Eugene Von BruenchenheinPhotograph of the Artist's Wife Marie, 1940s, 9 1/4 x 7 1/8"

Eugene Von BruenchenheinMontage Photograph of the Artist's Wife Marie, 1940s,9 1/8 x 7 1/8"

"Von Bruenchenhein met his wife Marie in 1939 during a visit to Wisconsin State Fair Park, located just a few blocks from his family's home. After a three-and-one-half-year courtship, they began a forty-year marriage that ended only with the artist's death in 1983. Beginning in the early 1940s, Marie became the subject of literally thousands of black-and white photographs taken by him. He developed the prints himself in their bathroom.

Inspired by the 1940s pinup aesthetic, Von Bruenchenhein's photographs are strangely erotic tableaux. They often feature Marie posed seminude before lush, floral cloth backdrops. She also appears enveloped in yards of bright satin or draped in imitation leopard skin and other patterned fabrics. In many images, she wears multiple pearl necklaces or dons a sparkling make-believe crown fashioned by the artist from a tin can and Christmas tree ornaments. Marie, transformed by her exotic costuming, assumed the fictional roles of seductress, ingenue, glamour queen, pinup girl, and movie star, all before the relentless voyeuristic gaze of Von Bruenchenhein's camera. During the 1950s, Marie enacted even more lavishly costumed charades for a series of over two thousand color slide images. She also helped her husband to hand color many of his earlier photographs of her."


Eugene Von Bruenchenhein35 mm Color Slide Image of the Artist's Wife Marie, 1950s

Eugene Von Bruenchenhein35 mm Color Slide Image of the Artist's Wife Marie, 1950s

"Marie! Marie!
I long for you thru the dusky,
Hollow, fading, years.
The memory of blossom lips;
Of starry eyes; of devine being,
Mingle to form a picture,
Where the sole joy of living
Manifests itself in the laughter
And lovliness of youth!
The tremor of a singing heart;
The whisper of a soft voice;
The movement of a summer blossom
In summers breezes;
Virtues that permeate the very
Charm of living!

Oh Marie! These and these alone
I would remember.
For these were you!"
(poem by Eugene Von Bruenchenhein)


Eugene Von BruenchenheinEugene Thinks of Marie: Montage by Eugene, 1940s,
10 x 5 1/2"

(source for photographs, poem and quote: Eugene Von Bruenchenhein: Obsessive Visionary, published by John Michael Kohler Arts Center, Sheboygan, Wisconsin © 1988)


Looking at the photograph above, Eugene Thinks of Marie: Montage by Eugene, makes me think about sources of inspiration and creativity, and the role of the artist's muse, andCarl Jung's concept of the anima ...

"The anima is a personification of all feminine psychological tendencies in a man's psyche, such as vague feelings and moods, prophetic hunches, receptiveness to the irrational, capacity for personal love, feeling for nature, and-- last but not least-- his relation to the unconscious. It is no mere chance that in olden times priestesses (like the Greek Sibyl) were used to fathom the divine will and to make connection with the gods.

A particularly good example of how the anima is experienced as an inner figure in a man's psyche is found in the medicine man and prophets (shamans) among the Eskimo and other arctic tribes. Some of these even wear women's clothes or have breasts depicted on their garments, in order to manifest their inner feminine side -- the side that enables them to connect with the "ghost land" (i.e., what we call the unconscious).

One reported case tells of a young man who was being initiated by an older shaman and who was buried by him in a snow hole. He fell into a state of dreaminess and exhaustion. In this coma he suddenly saw a woman who emitted light. She instructed him in all he needed to know and later, as his protective spirit, helped him to practice his difficult profession by relating him to the powers of the beyond. Such an experience shows the anima as the personification of a man's unconscious.

...The most frequent manifestations of the anima takes the form of erotic fantasy..."


Eugene Von Bruenchenhein detail image



HOW THIS GOT STARTED

I first saw Eugene Von Bruenchenhein’s paintings in 2003. I found them mysterious and evocative, and full of energy. The more I looked at them, the more they expanded beyond the borders of the frame. They seemed to carry with them a complex history, as if they were glimpses of a world distant from our own. Many appeared to depict an event—on land, underwater, or in deep space—drawn from some alien cosmogony. The paintings were relatively inexpensive, so I purchased a few. A couple of years later, I purchased a few more. And a few more. I loved the places they took me and the power they had to stimulate my imagination. Finally, my enthusiasm for the paintings reached the point that I wanted to share them. So, in May, 2009, we launched vonbruenchenhein.com.
1956.12.15_evb525_gs213-update
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1955.04.24_evb213_gs102
1957.07.03_evb607_gs244
1958.02.02_evb679_gs267
1957.12.09_evb665_gs263
1959.06.24_evb813_gs315
1958.02.05_evb680_gs268

1970.08.00_evb000_gs412
1970.08.00_evb000_gs4101978.09.00_evb000_gs4911963.05.09_evb954_gs402
1962.09.31_evb939_gs387_b

VON BRUENCHENHEIN, THE PAINTER

EVB—Gene to his wife and friends—was born in Wisconsin, married a local girl, and worked in a bakery during the ten years that he completed his most imaginative pieces, 1954-1963. The two of them lived in a small house that had belonged to EVB’s father, and they barely got by. His first paintings were on panels of boxes that he brought home from the bakery. As his devotion to painting increased, he would purchase paint and boards from a local art supply store. Gene worked without an easel, on the kitchen table. On summer nights, he’d put up a couple of floodlights and paint in the back yard. Most of his paintings were completed in a single frenzied session, one to three hours in length. His neighbors regarded him as a weird character. EVB saw himself as a great artist, but was unsuccessful in selling his work or gaining any recognition. By his own accounting, he completed 1,080 paintings. When he died, his small house was crammed from floor to ceiling with them.
Initially, he painted with brushes on canvas. Then in 1954 his technique changed. He started painting on board with his fingers. In 1955, he began to treat his board surfaces with a white or cream undercoat, and in addition to using his fingers, he began to scrape the paint with combs, quills, and bakery tools, revealing the undercoat beneath. His experiments with this technique proceeded through 1955 with a limited color palette. Then in 1956 his technique took a quantum leap and his colors went wild. He painted like a madman for about five years, producing a staggering number of images. Then his energy flagged, along with his health. The quality of his pieces became sporadic—brilliant things mixed with less brilliant—until 1963, at which time his painting ceased.
Prior to 1954, EVB spent a decade taking photographs, mostly of his wife Marie. After 1963, he devoted himself to sculpture. He returned to painting in the late 70s, just before his death. Everything EVB produced bears evidence of his great energy and imagination. But the paintings completed during 1954-1963 are extraordinary. There are roughly 950 of them, about 70% of which have been documented by museums and the estate that survived the artist. The rest have either vanished or are in private hands. About 80 were given away by EVB during his lifetime, and many of these have never surfaced. Some have undoubtedly been destroyed. Others may be gathering dust in a closet or attic.

VON BRUENCHENHEIN AND MODERN ART

From the standpoint of the art world, EVB is an outsider. He was self-taught and worked in isolation. He was first embraced by the Outsider Art, Art Brut, and Folk Art communities. His sculptures, especially, said “Folk Art” because of the materials he used. But EVB’s paintings are unlike what is generally seen in the Folk Art domain. The painting style isn’t primitive. It shows great skill. EVB was a master of technique. It just happened to be his own.
EVB has more in common with artists like Bosch and Brueghel and Goya. He has a lot in common with William Blake and Max Ernst. He also has a lot in common with a novelist and story writer like Arthur Machen, and a recording artist like Jim Morrison. My own struggle to understand what gripped me and why, led to a theory of kinship and a simple definition. So here it is, for whoever might be interested.

STRANGERS AMONG US

Most people are content to live in this world. But a few of us would prefer to be somewhere else. There are lots of reasons for a disengagement from reality, but without getting into causes, people who want to disengage, and have a lively imagination and some creative ability, may choose art as a means of creating and living in a different world. For these people, their “vision” of a world apart becomes the chief reality. That’s a different kind of life, and it produces a different kind of art. The individuals I’m thinking of have two simple identifying traits:

A DIFFERENT WORLD AND A MORE PROFOUND ONE

First, they have a desire or compulsion to set the everyday world aside in preference to another world. Second, they believe that the world they have envisioned is more profound and more real than the everyday world. Plato compared day-to-day existence with life in a cave. Above the cave, he said, there was a different world with better lighting, and that world was the more important one. That’s the Visionary perspective. The envisioned world may be blissful or full of torment. Sometimes it has elements of both heaven and hell. But it is a world apart from the one we live in, and, to them, it is more important.

Eugene Von Bruenchenhein

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