Berry Brugman (1915-1996) - Untitled

Beautiful painting by Berry Brugman in his characteristic expressive-expressionist style.

Technique: oil paint on board, very impastoed.

The artwork has recently been cleaned and the original frame has been restored and painted,
in very good condition!

Wikipedia about Berry Brugman:

Berry Brugman was born in 1915 in Almelo. After secondary school he attended the art academy in Arnhem; in 1940 he took his final examination.

During the war Brugman fought in the Battle of the Grebbeberg and he was in the Amersfoort concentration camp. Thereafter (in 1942) he moved to Amsterdam to further his training in portrait and figure painting under Jos Rovers. He also wanted, together with other painters, to experience how the contemporary art of the time was developing. Mastery of the métier was essential for him.

In 1943 he married Janny Brugman-de Vries (Sneek, 28 October 1918 – Almelo, 16 March 2006). Janny was a Dutch sculptor. She created statues, sculptures and mosaics for various parks and buildings.

Forced by wartime conditions, Berry returned to Almelo and settled there as a painter, joining the De Twentsche Kunstkring. After the liberation he undertook study trips to, among other places, France, England, Italy, Canada and Germany. In 1973 he became a member of the Amsterdam Artists' Association De Stuwing.

In 1984 he, together with his wife, received the Johanna van Buren Cultural Prize from the Johanna van Buren Foundation in Hellendoorn.[3]

Berry Brugman was an expressionist and aimed for figurative forms; in doing so his work touched on the abstract, but it never became fully abstract. Color was very important in his work. His deepest source of inspiration was the Twente nature. He belonged to expressionists such as Constant Permeke (School of Sint-Martens-Latem), Charley Toorop (Bergense School), Hendrik Werkman (Groningse Ploeg), Hendrik Chabot (Kunstenaarsgroep R 33) and Charles Eyck (Limburgse School). Additionally, Berry Brugman naturally possessed a deeply religious temperament. He was therefore a religious, socially engaged painter in whom the existential suffering of humanity was personified by the suffering of Christ; another source of inspiration. His subjects were: seasons, landscapes, figures, portraits, religion, war, famine, and floral still lifes.