Will roar

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Will Brüll (born November 20, 1922 in Viersen ; † August 22, 2019 in Meerbusch- Osterath ) was a German artist . He lived and worked in the Osterath windmill .

Life and artistic creation

Brüll was born in Viersen in 1922 as the son of a family of teachers and attended a humanistic grammar school. After graduating from high school, he served as an aviator in World War II from 1941 to 1945. Since the 1960s he made a name for himself as a steel sculptor . In his hometown Viersen and especially in his place of residence Meerbusch there are several works from different creative periods. In addition, his sculptures are displayed in many other German cities, as well as in France, the USA and Canada. Brüll's leitmotif is the dynamic movement of the surface in space. "Sculpture is a space-defining accentuation," as he puts it.

Studies and early work

From 1945 to 1950 Brüll studied at the State Art Academy in Düsseldorf with the sculptor Joseph Enseling , a student of Aristide Maillol . Enseling conveyed essential features of Maillol's three-dimensional concept such as clear contours and the development of the figure from the body architecture. Brüll's first realistically designed full-length figures and portraits followed these principles of classical sculpture. In addition to the academic beginnings, works typical of the time were created in the immediate post-war period. Motifs such as “Lament”, “On the run” and “Mourning couple” are reflections and mood images of those years. Encouraged by Ewald Mataré , the then head of the sculpture class at the Düsseldorf Art Academy, Brüll dealt with several religious subjects. At the time, Brüll was also stylistically close to Mataré's artistic concept, which is characterized by the merging of individual forms, smooth surfaces and closed contours.

After completing his studies, Brüll continued to work in Düsseldorf before moving to Osterath in 1955. Until the early 1960s, he created figurative sculptures out of wood, stone and bronze. The mostly small-format works, which he himself referred to as “early bronzes”, are characterized by stylized simplification. In addition to Mataré's influence, they reveal Brüll's engagement with the sculpture of classical modernism by Alexander Archipenko , Henry Moore , Constantin Brancusi , Marino Marini and Jean Arp . In the early bronzes, Brüll increasingly played with positive and negative forms within the closed contour. By hollowing out the plastic volume with empty forms, the space penetrated the interior of the sculpture.

Working with stainless steel

After the search and orientation phase in the 1950s, there was a radical change in material, repertoire of forms and artistic tasks at the beginning of the 1960s. Brüll was no longer concerned with the three-dimensional modeling of bodies, but rather with the relationship between the three-dimensional structure and the surrounding space. In the period around 1960/61, the first attempts were made to create rhythms of the same form elements using the traditional materials brass and bronze. They reveal stylistic parallels to the informal painting of Wols or Alfred Manessier at the same time. In several reliefs, Brüll played with the grouping of stylized groups of people, which he replaced a little later with abstract forms in which associations with leaves or sails emerge. Structures inherent in the image, which can be read abstractly, prepared the development from figurative to non-figurative sculpture.

While looking for a new concept, Brüll found stainless steel . This material gave him the chance to break new ground. For him, the beginning and starting point of all plastic design was the surface, which already contained the possibility of spatial development, as he put it in 1995. As soon as a rectangular surface - at Brüll almost exclusively made of stainless steel - is bent by rollers, it gives up two-dimensionality in favor of three-dimensionality, which creates a three-dimensional sculpture - in contrast to the traditional, physically modeled volume sculpture. With the design of the so-called. Empty volume Brüll followed the conception of sculpture as theoretically formulated for the first time in 1920 in the Realistic Manifesto by the sculptors Antoine Pevsner and Naum Gabo.

With the use of stainless steel, an industrially manufactured material from the field of technology, Brüll renounced the classic materials of sculpture with which he had previously worked. He saw stainless steel as the contemporary material of the industrialized world and with the help of rolling technology he was able to implement his ideas adequately. In 1995 Brüll described his work with Stahl: “In Stahl I dream of exhilaration and weightlessness, of rhythm, of poetry and music, but also of energetic and dynamic, and also of protection, germination and growth. I dream all primeval human sensations in steel - including grief and pain ”. The choice of material reflects the optimism and belief in progress of the 1960s, the trust in technology, industry and growth as a guarantee for a better life and a better world. Some of the works from these years have been given names such as Aufbruch and Aufwung.

The abstract spatial sculptures made of stainless steel are the focus of Brüll's work to this day. His large-format public space sculptures can be found throughout the Federal Republic of Germany, including various in his place of residence in Meerbusch, such as the "Wings of Friendship", which was created in 1997 on the initiative of the Meerbuscher Kulturkreis eV on the occasion of the thirty-year partnership between Meerbusch-Strümp and Fouesnant in Brittany in both cities were set up. He likes to place his steel sculptures as a counterpoint to architecture in an urban environment or in dialogue with nature. Set up outdoors and exposed to the forces of nature, the works unfold their liveliness and dynamism, especially when it comes to works that move in the wind. The cool, shiny steel objects with their individual geometric shapes contrast with their surroundings. Here they react to air movement, different lighting conditions and solar radiation. In the interplay between seemingly technical sculpture and natural surroundings, Brüll abolishes the contrast between technology, art and nature.

The older work groups of “Raumsegel und Raumwirbel” develop their own dynamic against the airy background of sky and clouds. With their loosely and rhythmically arranged, open individual parts, they arouse associations with swirling leaves, while other works as giant loops, loops or knots with their concentrated interplay of concave and convex shapes accentuate and rhythmize the surrounding space.

In the 1990s, the group of works was created, which Brüll summarized under the heading “Germination - Protection”. With the means of bent steel, he created a protective space for the vulnerable fruit, thus taking up a motif that had already occupied him in his early bronzes in the concrete form of mother / child representation. The variants of the “germination” make it clear that Brüll is not an abstract artist, but that his works have an objective or a natural starting point.

Over the years, Brüll simplified his repertoire of forms without losing any of its expressiveness. In the abstract steel sculptures, the development from the small-scale forms of the vortices from the sixties to the concentrated language of the later works can be seen. One of them is the group of works “Ball with Swing”, which has been created since the late 1990s.

The creation of the steel sculptures is based on an elaborate technical process. At the beginning of the creative process there are sketches and small paper models. In the first concrete step towards realizing an idea, Brüll creates a roughly 30 cm high scale model from relatively thinly rolled steel. For the next larger models from around half a meter, two curved plates have to be welded together for the desired surfaces. Finally, the meter-high spatial sculptures are sanded and polished again after their completion so that they reflect the light optimally. The mobile sculptures require extensive static calculations, for which Brüll calls in a specialist.

Graphics and painting

In addition to his sculptural activities, Will Brüll created an extensive body of work in other techniques such as drawings, etchings, linocuts, watercolors, pastels, collages, oil and acrylic paintings. In parallel with and in connection with the sculptures, numerous sketches and designs were created. Inspired by rolling his sculptures, he created rolling pictures with abstract color scores. Delicate watercolors with sail and swirl motifs also testify to the handling of color.

Exhibitions (selection)

  • 1965 Galerie Vömel, Düsseldorf
  • 1966 5th international sculpture exhibition, Arnhem
  • 1966 Museum of Modern Plastic, Mexico
  • 1968 Pfalzgalerie, Kaiserslautern
  • 1975 Mannheim Art Association
  • 1976 Niederrh. Open-air museum, Grefrath
  • 1985 Municipal Gallery in the Park, Viersen
  • 1997 Gallery Benden u. Klimczak, Viersen
  • 1998 Galerie Vömel, Düsseldorf
  • 1998 Museum Kurhaus Kleve , Kleve
  • 2003 Sparkasse Neuss
  • 2009 Teloy mill, Meerbusch-Lank

Photo gallery

  • Sculptures in public space

  • Raumwirbe l, Düsseldorf-Heerdt

  • Three-sided room rhythm , in front of the Bergisch-Land Clinic , Wuppertal-Ronsdorf

  • Large space vortex , Meerbusch- Osterath , 1965

  • Large space vortex , Meerbusch- Osterath , 1965

  • Circular area segments , 1968, Meerbusch-Lank, community center

  • Gittertor , 1988, Meerbusch-Osterath, Book and Art Cabinet Mönter

  • Large space swing , 1997, Meerbusch- Strümp

  • Large space swing arm (detail), 1997, Meerbusch- Strümp

  • Ball in double swing , 2002, Meerbusch- Lank-Latum

  • Ball in a double swing (detail), Meerbusch- Lank-Latum , 2002

  • Ball in swing , Meerbusch-Osterath

  • Light catcher , Meerbusch-Osterath

  • Great protection , Willich - Anrath

  • Germination, sprouting , Meerbusch-Osterath

  • Funeral , 1988, Meerbusch-Osterath cemetery

  • Couple , Anneliese Holte-Brüll grave, Meerbusch-Osterath cemetery

Workshop

The Osterather Windmühle , Will Brüll's apartment and studio

In 1955 Brüll moved with his wife to Osterath (now part of Meerbusch), where he lived until his death. They bought the dilapidated Osterath windmill, had it restored and converted into a living space and studio. The former horse stable was turned into a workshop and the surrounding farmland turned into a sculpture park. Numerous works by Will Brüll are exhibited here. In 1992 he set up exhibition rooms in the old miller's house, in which his entire work from its beginnings to the present day is documented in groups of works and presented in a museum. The listed architecture and the art in the mill park form a total work of art.

Brüll Houfer Foundation

In 2005 Brüll and his wife Anneliese Holte, b. Houfer († 2010), jointly set up the Brüll Houfer Foundation , which is supposed to preserve the mill and the life's work of the artist couple. The foundation is managed in trust by the city of Meerbusch and awards a prize to young sculptors. Associated with the sponsorship award is a solo exhibition organized by the city of Meerbusch in the Teloy mill in Meerbusch-Lank. The first winner in 2007 was Paul Jonas Petry (* 1972), in 2012 Katharina Wackermann (* 1982) received the sponsorship award.

literature

  • Karl Ruhrberg : The sculptor Will Brüll , in: Exhibition catalog, Galerie Vömel, Düsseldorf 1965.
  • 5th International beeldententoonstelling Sonsbeck , exh. Cat., Arnhem 1966.
  • Plastic of the present , exh. Cat., Pfalzgalerie Kaiserslautern 1968.
  • Steel and form: flat and spatial sculptures by Will Brüll , introduction by H. Odenhausen, editor by Hans Th. Schoenenberg, Verlag Stahleisen mbH, Düsseldorf 1971.
  • Brüll retrospective 1964–1974 , exh. Cat., Mannheimer Kunstverein e. V., Mannheim 1975.
  • Will Brüll - sculptures , exh. Cat., Städtische Galerie im Park, Viersen 1985.
  • Groups of works 1945–1995 , ed. v. Will Brüll, Mönchengladbach 1995.
  • Wings of friendship. A documentation by Will Brüll 1997 , ed. v. Will roar, arr. v. Margot Klütsch, Krefeld 1997.
  • Will roar. The early bronzes , ed. v. Will roar, arr. v. Margot Klütsch, Mönchengladbach 1998.
  • Will roar. Sculptures. Work groups II , ed. v. Will Brüll, Mönchengladbach 1998.
  • Will roar - line + color. Parallel to the sculpture , ed. v. Will roar, arr. v. Margot Klütsch, Mönchengladbach 1999.
  • Margot Klütsch: Will Brüll - Sculptor in Meerbusch , in: Yearbook for the Neuss District 2000, ed. v. District Home Association Neuss e. V., Neuss 1999, pp. 182-193.
  • Will Brüll retrospective , editor: Stadt Meerbusch, text contributions and conception: Dr. Margot Klütsch, catalog editing: Kirsten-Lammertz-Lang, Conny Türk, Dr. Margot Klütsch, exh. Cat., Teloy-Mühle, Meerbusch-Lank, Neuss 2009.
  • Margot Klütsch: Meerbuscher Kunstwege. Works of art and monuments in the cityscape , ed. vd Stadt Meerbusch, Düsseldorf 2010, ISBN 978-3-89978-132-8

Web links

Commons : Will Brüll  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ Obituary notice. In: Rheinische Post , August 28, 2019. Retrieved September 1, 2019.
  2. ↑ Monika Götz: An obituary for a great artist. The artist Will Brüll has died. In: RP Online. August 25, 2019. Retrieved August 25, 2019 .
  3. ↑ Will Brüll (Ed.): Groups of works 1945 - 1995.
    Further source: Conversations with Will Brüll since the 1990s.
  4. ^ Vita of Will Brüll. In: Internet portal of the city of Meerbusch. Archived from the original on August 31, 2010 ; accessed on August 27, 2019 .
  5. ^ Margot Klütsch, Meerbuscher Kunstwege. Works of art and monuments in the cityscape , ed. vd Stadt Meerbusch, Düsseldorf 2010, ISBN 978-3-89978-132-8 , with biography, description and images of the Meerbusch sculptures.
  6. ↑ a b Will Brüll (Ed.): Work groups 1945 - 1995. P. 6.
  7. ↑ Will Brüll (Ed.): Will Brüll. The early bronzes. Edited by Margot Klütsch. Mönchengladbach 1998.
  8. ^ Margot Klütsch: Will Brüll - Sculptor in Meerbusch. In: Yearbook for the Neuss District 2000, ed. v. District Home Association Neuss e. V., Neuss 1999, p. 186.
  9. ↑ Funded objects. Meerbuscher Kulturkreis, 2005, archived from the original on December 1, 2007 ; accessed on August 27, 2019 .
  10. ↑ Wings of Friendship. A documentation by Will Brüll 1997, with a text by Margot Klütsch. Krefeld 1997.
    Margot Klütsch: Meerbuscher art ways. Works of art and monuments in the cityscape. Edited by the city of Meerbusch. Düsseldorf 2010, ISBN 978-3-89978-132-8 .
  11. ↑ Will Brüll (Ed.): Will Brüll. Sculptures. Work groups II. Mönchengladbach 1998.
  12. ↑ Will Brüll - line + color. Parallel to the sculpture , ed. v. Will roar, arr. v. Margot Klütsch, Mönchengladbach 1999.
  13. ↑ howler Houfer Foundation. In: Internet portal of the city of Meerbusch. Archived from the original on July 26, 2009 ; accessed on August 27, 2019 .
personal data
SURNAME Roar, Will
BRIEF DESCRIPTION German sculptor
DATE OF BIRTH November 20, 1922
PLACE OF BIRTH Viersen
DATE OF DEATH 22nd August 2019
Place of death Osterath