Willem Brauck

Brauck (Willem Brauckmann), born in 1946, emerged years ago from the anonymity that surrounds so many artists. He began his career in 1963 by studying at the Academy of Fine Arts in Rotterdam. As was fitting for a good artist in the 1960s, he did not complete his studies. What he may have lacked in theoretical training, he more than made up for with his many years of practical experience, including in advertising and exhibition design. For many years, his illustrations have accompanied current events in newspapers and magazines. Brauck carried out numerous prestigious commissions, ranging from television sets to enormous floral mosaics to adorn an EC summit at the Kurhaus in Scheveningen. These include a 100-meter-long mural for a recycling company and the signage for a tourist route commissioned by the Ministry of Culture, Recreation, and Social Welfare. Many works were commissioned by the business community, such as lithographs and screen prints, as well as, of course, original works in various techniques and materials. Brauck has exhibited numerous times at galleries throughout the Netherlands, Belgium, France, the USA, and Russia. Many of his works are in private collections, but can also be found in corporate collections and other art collections. The Mayakovsky Museum in Moscow has included works by Brauck in its collection. Quote from the afterword of the book *Brauck, Visual Artist* by Dr. Sophia M. Hazenberg: “He does not like to talk about his work; it is no coincidence that he is a painter, not a writer.” Admittedly, he does write—he describes what he experiences—but he does not interpret. His paintings do that. They are more than a depiction of an event. A painting is the inner experience of it. Very relatable. Through his paintings, Brauck reveals how he views existence. He seeks to make the viewer aware of the duality within contemporary society: the constructive on the one hand and the destructive on the other. It is no coincidence, then, that Brauck was struck by Shostakovich’s score. The graphic quality of the handwriting inspired him greatly. In the scribbled notes, he saw a combination of a hasty writing style and an inner nervousness. That appealed to him. Brauck takes a highly critical view of society and makes that clear, but he does so with an optimistic tone. After all, life isn’t just one big catastrophe! The energetic and expressive brushstrokes have clearly prevailed over what is, at its core, a somewhat pessimistic vision. They seem to symbolize hope and the longing for better stewardship and use of the world. The skillful and radiant use of color aims to point the way toward a greater appreciation of just how beautiful our world can be.