ARTISTS / Art after 1945
Peter Brüning


Available works
Peter Brüning
in the studio 1957 © Estate of Prof. Peter Brüning, Ratingen and VG Bild-Kunst, Bonn
1929Born in Düsseldorf on November 21
1950-1952Studies at the Academy of Fine Arts in Stuttgart with Willi Baumeister
1951First trip to Paris with Baumeister and some members of his class
1952-1954Stayed in Soisy-sur-Seine near Paris as a UNESCO scholarship holder;
 Trip through southern France, Spain, and Italy
since 1953Member of the "Gruppe 53" (formerly "Künstlergruppe Niederrhein 53")
since 1954Residence and studio in Ratingen on the city limits of Düsseldorf
1955Awarded the Cornelius Prize of the City of Düsseldorf
since 1955Regular stays in Paris
1956Participation in the exhibitions "Interferenzen", Galerie Paul Facchetti, Paris, and "poème objet", Galerie Parnass, Wuppertal;
 First solo exhibition at the Kunstverein für die Rheinlande und Westfalen, Kunsthalle Düsseldorf
1957First solo exhibition at Galleria Apollinaire, Milan
1958Solo exhibition at Galerie 22, Düsseldorf and Galerie Parnass, Wuppertal
1959Scholarship of the Kulturkreis im Bundesverband der Deutschen Industrie (BDI); participation in "documenta II", Kassel
1961Villa Romana Prize (Florence) and XII. Premio Lissone, Italy
1964Honorable Award at the III. International Biennale of Young Artists in Tokyo; participation in the "documenta III", Kassel
1968Participation in the "documenta 4", Kassel;
 "Autobahndenkmal" (Motorway Monument) between the freeway junctions Wuppertal South and Wuppertal East
1969Begins teaching as professor of free painting at the State Academy of Art in Düsseldorf
1970Died on December 25 in Ratingen
 Numerous solo exhibitions and participation in exhibitions at home and abroad
 Works from all creative periods in public and private collections
Peter Brüning is considered a main representative of the Informel in Germany. Marie-Luise Otten has called him a "lyricist of German Informel." While Brüning's painting was initially characterized by dark colors, his style lightened up in the early 1960s. Brüning became more gestural, generous and dynamic. At the beginning of the 1960s, he looked for new ways to translate the reality of our time into landscape paintings in a symbolic way. Our landscapes changed by technical progress with their traffic routes and power pylons motivated Brüning to cybernetic landscape representations.
As spontaneous and energetic the images seem, so considered is his composition. Round, curved shapes and concrete, graphic elements complement each other to the charming overall picture. Nature impressions and contemporary cartographic formulas and pictograms are not a contradiction, but unite to a common harmony, to sign-like abbreviations of our time. 
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