Gertrud Debrunner

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Gertrud Debrunner-Treichler (born January 29, 1902 in Wädenswil ; † February 24, 2000 in Rupperswil ) was a Swiss artist .

Life

Debrunner was the daughter of the Wädenswil cloth manufacturer Jakob Treichler and Nina Gredig who came from a hotelier family from Davos.

Debrunner grew up in an artistic family. She played the piano and enjoyed working on piano works by Debussy, Ravel and Schubert. At the age of sixteen Debrunner attended the girls' school in Zurich. This was followed by training at the Bern industrial vocational school with Berta Tappolet and Ernst Wehrli . On the advice of Wehrli and her piano teacher Ceslax Marek, Debrunner attended the Rudolf Maria Holzapfel study evenings in Zurich . It was there that she met her husband, the art psychologist Hugo Debrunner , whom she married in 1930. Their son Ingo was born in 1931 and their daughter Birgit in 1939. From 1937 Debrunner began to paint again and created naturalistic landscapes in the following years. Debrunner soon turned away from Holzapfel's theories and dealt with Carl Gustav Jung's psychology. Debrunner began to deal with their fantasy and dream motifs.

In 1940 she moved with her family from Zurich to Stäfa. There she set up a studio and began to paint her first informal pictures. The widowed Jean Arp and Leo Leuppi visited Debrunner in their studio. From 1947 Debrunner was a member of the artist group Allianz , within which she got caught between the fronts, as her "painting could not be assigned to either the Surrealists or the Concrete". Debrunners exhibition phase lasted until around 1960 when she realized that this "exhibiting" no longer appealed to her and she withdrew from the art world. 1960 was also the year when she moved to Uetikon and started working on collage . Since they and their family could not find an apartment in Zurich, they decided in 1967 to build a house in Biberstein with their son Ingo .

Like Meret Oppenheim , she also worked as an artist for “a better position for women in society and the recognition of their intellectual and creative abilities”. According to the Swiss art historian Susanna Lerch , who published a biography of Debrunner by Scheidegger und Spiess in 2014 , a new interest in Debrunner's work arose since the beginning of the 2010s, "which remains an exciting document of the times thanks to its extensive source material."

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