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Eugene Von Bruenchenhein
Eugene Von Bruenchenhein (1910–1983) was an American self-taught artist from Milwaukee, Wisconsin. Over the course of fifty years, from the 1930s until his death in 1983, Von Bruenchenhein produced an expansive oeuvre of poetry, photography, painting, drawing and sculpture. His body of work includes over one thousand colorful, apocalyptic landscape paintings; hundreds of sculptures made from chicken bones, ceramic and cast cement; pin-up style photos of his wife, Marie; plus dozens of notebooks filled with poetic and scientific musings. Never confined to one particular method or medium, Von Bruenchenhein continually used everyday, discarded objects to visually explore imagined past and future realities.
==Early life==
Edward Eugene Von Bruenchenhein was born on July 31, 1910 in Marinette, Wisconsin. The second of three sons, Eugene was only seven years old when his mother, Clara Von Bruenchenhein died. Soon after his father, Edward, married Elizabeth “Bessie” Mosley, a schoolteacher. A woman of literary and artistic ambitions, Bessie “became a model of creativity and intellectual exploration for the young Eugene.”〔 Lisa Stone, "Thoughts on the Art of Eugene Von Bruenchenhein," ''Folk Art'', Fall 2007: 84 〕
After graduating high school, young Eugene worked for a florist and cultivated a growing collection of exotic plants and cacti at his father's home. His passion for horticulture would later be visible in his repeated use of floral motifs and leaf patterns.
In 1939 he met the woman who would become his future wife and muse – Evelyn Kalka. She was 19, he was 29. In 1943 they married and Evelyn came to be known as “Marie,” a name she took on in honor of one of Eugene’s favorite aunts. While Von Bruenchenhein worked at a bakery, he and Marie moved into his father’s former storefront at 514 South 94th Place. It was here that Eugene and Marie established an “all-encompassing” world of their own – a world where stages of exotic theaters were mounted, where everyday items fueled his creativity. For the next forty years, Von Bruenchenhein not only made his home the site of his artistic production, but also an integral part of his creative process. After his death, it stood as “a patchwork of pastel colors and applied architectural ornament,” which was “guarded by mask-like concrete monuments within lilac bushes on the periphery.”〔 Lisa Stone,“Eugene Von Bruenchenhein,” ''Raw Vision'', Winter 1994/5: 33. 〕
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