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Eugene Von Bruenchenhein: King of Lesser Lands

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Eugene Von Bruenchenhein: King of Lesser Lands"Von Bruenchenhein belongs among the great American outsider artists." Roberta Smith, The New York Times King of Lesser Lands traces the fugitive career of Eugene Von Bruenchenhein (1910 83), a prolific creator of a diverse range of distinctive images and sculptural objects, who produced his art in private over a period of about 50 years at his home in Milwaukee, Wisconsin. His large and unusual body of work was not discovered until after he died. In

"Von Bruenchenhein belongs among the great American outsider artists." -Roberta Smith, The New York Times

King of Lesser Lands traces the fugitive career of Eugene Von Bruenchenhein (1910-83), a prolific creator of a diverse range of distinctive images and sculptural objects, who produced his art in private over a period of about 50 years at his home in Milwaukee, Wisconsin. His large and unusual body of work was not discovered until after he died.

In 1939, at the age of 29, Von Bruenchenhein met Evelyn Kalka. She became his wife and muse. Evelyn, who was nicknamed "Marie," served as his model and the subject of thousands of erotic photo-portraits, which he shot and printed himself. For these images, which emulated girlie-magazine pinups with an offbeat air, Von Bruenchenhein designed and created his own background sets and costumes for Marie.

Around the mid-1950s, the artist began to make abstract paintings using his fingers or sticks, combs, leaves and other makeshift utensils to push oil paint around the surfaces of Masonite boards or cardboard taken from packing boxes at the bakery where he worked. Von Bruenchenhein's abstract explosions of vibrant color evoke the forms of strange plants or fantasy creatures and architectural structures. Later, Von Bruenchenhein used clay to produce home-fired crowns and vases, and also created mysterious sculptures resembling towers or thrones with chicken and turkey bones.

During his lifetime, only his closest family members and friends knew anything about his artistic pursuits. In 1983, after the artist's death, one of his friends called the attention of the Milwaukee Art Museum to Von Bruenchenhein's extraordinary oeuvre.

On the occasion of a 2010 survey of his work at the American Folk Art Museum in New York, Roberta Smith wrote in The New York Times "Von Bruenchenhein belongs among the great American outsider artists whose work came to light or resurfaced in the last three decades of the 20th century." Smith placed Von Bruenchenhein's unusual art in the company of that of Henry Darger, Martin Ram rez, Bill Traylor, James Castle and Morton Bartlett.



Binding Type: Hardcover
Publisher: Andrew Edlin Gallery
Published: 06/14/2016
ISBN: 9780977878390
Pages: 162
Weight: 2.70lbs
Size: 12.50h x 9.50w x 0.70d
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SKU: 37184716465

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Bray has written a very accessible introduction to the attributes of God, with the proper distinctions between God’s essential attributes and his relational attributes. Bray does well in showing the necessity of the essential attributes as the foundation to the manifestation of God’s relational attributes to mankind, firmly anchoring them in the biblical text. I appreciate that he provided glimpses of the historical development of the attributes, interacting with some of the objections to the essential (i.e., classical) attributes and then exposing the reader to some of the best scholarship in response to the objections. The appendix ends the book with an historical survey of the attributes in the Christian tradition. Those unfamiliar with the development of classical theism will be brought up to speed, just enough to see the rich heritage of the classical attributes of God. I will be referring those new to systematic theology or are unfamiliar with the classical doctrine of God to this introductory work. It’s a great read and desperately needed due to the construals of God being promoted in modern theology.
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