Bernd Haussmann 

“Art should not only mirror our human existence and the condition of our natural environment but also offer suggestions and the possibility of hope. Visualizing the process and thereby the evolution of a painting allows me to share my doubts and convictions with the viewer. My hope is that the painting will continue to grow in the viewer’s mind.”                                                                                -Bernd Haussmann

Few artists have the courage to begin every work of art on a clean slate, with no preliminary plan whatsoever. Fewer still can do so and maintain total integrity. Bernd Haussmann faces the nothingness that is blank canvas, wood, metal, or other surfaces, and listens to his thoughts until a direction appears in his mind. Then he picks up his brush, and a subtle conversation begins. “As people get to know each other by talking,” he says, “I get to know the painting by painting it.” At a certain point, the dialog resolves itself and a work of art is revealed as a record of that process.

Haussmann builds up layers that hint at something beneath the surface. That something may be psychological, or may go even deeper and allude to eternal verities. Various forms appear, some positioned as color fields that organize the composition and some looped organically like recurring memories. Staccato blips underscore the electric chirr and crackle of contemporary consciousness that brings the work alive.

As Haussmann proceeds, the dialog is widened to include the eventual viewer. The painting becomes accessible in the sense that it furnishes suggestions and invites participation. “There is always an underlying principle that I want to share with you,” he says. “What you make of it depends on what information I put into the painting. This is important for the way I look at art or life in general. It doesn’t necessarily mean I know the truth, but I make my doubts and questions and my very strong opinions visible – almost surgically bare, if one looks closely. The more information and energy I put into the painting, the more it will resonate with the viewer. Painting, to me, is an energy exchange as well as a communication. A lot of people feel some connection when they look at my art.”

Haussmann makes no distinction between his life and his art. “I am who I am,” he says, “and that is what I paint. I live my art. Art is a lifestyle – it is what I believe, and it defines me even as I create it. What is important to me is sharing my thoughts and beliefs, and keeping an eye on the cultural and political and social environment as our earth progresses.”

The physical environment is a matter of intense concern as well. Haussmann divides his time between the Boston area and rural Maine, where he contributes to the building of a nature preserve and creates environmental sculptures. His paintings, though rigorously abstract, reflect that same dedication. They are saturated with the atmosphere of the natural world. “I want to show you the fragile environment, the intensity of connection that you experience when you go outdoors,” says Haussmann. “I hope to make people more sensitive, more aware, more critical of the world that surrounds us.” His paintings shimmer in silence while the conversation that produced them continues, communicating many shades and nuances of information to each person who pauses to interact with them.

Suzanne Deats, 2006

 

Public & Private Collections

· Lance Armstrong, FL
· Alliance Capital, Boston, MA
· Crowell & Moring, Washington, DC
· Danforth Museum of Art, Framingham, MA
· Fontainebleau, Miami Beach, MA
· Gary Lee & Partners, Chicago, IL
· Gensler, Chicago, IL
· Hale & Dorr, Boston, MA
· Healthpoint Corporation, Fort Worth, TX
· Hunterdon Museum of Art, Clinton, NJ
· Hyatt Regency Corporation, Rochester, NY
· Ladeki, San Diego, CA
· La Jolla Crossroads, San Diego, CA
· Lyman Allyn Museum, New London, CT
· Meditech, Westwood, MA
· Montserrat College of Art, Beverly, MA
· Museum der Stadt Reutlingen, Reutlingen, Germany
· Nordstrom, Natick, MA
· Provincetown Art Association and Museum, Provincetown, MA
· Regency, Naples, FL
· Ritz Carlton, Boston, MA
· Ritz Residence, Boston, MA
· Wheatleigh, Lenox, MA
· Xerox Corporation, Rochester, NY


AWARDS & GRANTS
1999
Grant, A.R.T. (Artists’ Resource Trust) Fund, Massachusetts
Best of Show, Juried Art Exhibit, Essex County Jurors: 
Karen Haas, Curator, Boston University Art Gallery, Boston, 
Jeffrey Keough, Director of Exhibitions, Massachusetts College of Art, Boston, Barbara O’Brien, Gallery Director, Montserrat College of Art, Boston.
1997
Open Studios Northeastern Competition for Painters 
Juror: Michael Lash, Director of Public Art, Chicago

BIBLIOGRAPHY
American Artists 3: Signatures and Monograms from 1800: a Directory, by John Castagno, ISBN 0810863820, 2009
Metropolitan Home, May 2009
Elle Décor, November 2007
Artnewsinternational (wordpress), Top 10 Artists showing in Atlanta, October 2007
Artist’s Resource Trust, The First Ten Years, 2006
PBS WGBH Boston, 25th Anniversary Designer Show House, This Old House®, Spring 2005
This Old House®, 25th Anniversary Designer Show House, April 15th through May 31st 2005
House Beautiful, March 2005
Public Television, ‘Find’ episode 212, Fall 2004
House Beautiful, June 2004
Art New England: Bernd Haussmann: In the Moment, by Debbie Hagan, 
December 2003/January 2004
The Boston Globe: Spontaneity is at the heart of painter’s colorful works, 
by Cate McQuaid, July 19, 2002
The Boston Globe: ‘Proverbs inspire paintings of hope’, by Cate McQuaid, October 2001
Boston Globe Sunday Magazine: Reel renovations – A Back Bay town house is transformed 
for its role in ‘What’s the Worst That Could Happen’? 
(Movie with Danny DeVito, filmed in Boston), June 2001
Fort Worth Star Telegram: “Haussmann strives for paintings you can hear”, 
by Kendra McCown, Fort Worth, TX, April 2001
ARTcetera, Boston, MA, October 2000
Traditional Home, September 2000
MediaOne Public Television: Interview with Bernd Haussmann, July 2000
artsMEDIA, Cambridge, MA, “GOMA’S GIFTS BY THE SEA,” 
by Eileen Kennedy, February 2000
Tender Allies: The Biophilia Connection, Barbara O’Brien, catalogue essay, March 1999
ARTcetera, Boston, MA, October 1998
New American Paintings, The Open Studios Press, Wellesley, MA, February 1998
The Boston Globe: “Troubled harvest: three artists’ world views”, 
by Cate McQuaid, September 1997
The Boston Globe, Cate McQuaid, August 1997
Aeskulap malt-Bernd Haussmann, notabene medici 1996; 5: 260-263