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Rudolf Urech-Seon

While Swiss painters in the 1930s sought to represent idyllic scenes, Rudolf Urech-Seon (1876–1959) tried to depict nature by using geometric forms. He graduated as a painter from the Art Academy in Munich at a time when abstract art already prospered, though not in his hometown Aargau, which still followed the tradition of Post-Impressionism and had little comprehension for modern movements. Urech-Seon was left no other choice than to seek his own artistic path. As a loner he reinvented abstract art in his rural countryside-studio in Seon. 

Several works of Rudolf Urech-Seon's estate are part of our collection, therefore, the gallery is committed to promote the artist's notable oeuvre and to grant recognition to him. In this context, Galerie Bromer supported the elaboration of an extensive monograph about the artist. In addition, the gallery organized solo exhibitions 2017/18 in Roggwil and 2020 in Zurich.

Rudolf Urech-Seon »Baumstämme«, 1938, Inv.-Nr.1-2800
Rudolf Urech-Seon »Landschaft beim Schützenhaus«, 1920, Inv.-Nr.1-1991

Rudolf Urech-Seon - Composition, 1935

Rudolf Urech-Seon »Tanne am Abgrund«, ohne Jahr, Inv.-Nr.5-793

Rudolf Urech-Seon - Der Ausfall, 1956

About artist
Rudolf Urech-Seon
Seon, 1876 — 1959
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After completing an apprenticeship as a house painter and decorator, Rudolf Urech-Seon (1876, Seon – 1959, Seon) founded a painting business in his home village of Seon in the canton of Aargau in 1905 and married Marie Baumann in the same year. Despite having a stable family and professional business at the time, Urech decided to attend the Munich Art Academy from 1913 to 1916 to pursue an artistic career. In 1918, he returned to Seon rarely leaving the village from then on.
Rudolf Urech-Seon began his artistic career as a naturalistic landscape painter, which helped him to become a member of the GSMBA (Gesellschaft Schweizerischer Maler, Bildhauer und Architekten) and to participate in cantonal exhibitions in 1920. Rather quickly, he progressed to compositions in which he concentrated on constructive elements such as the lines, surfaces, and brushstroke rhythms which led an abstract art style with geometric, round, swinging forms with intense colours. Urech-Seon, accordingly, became and remained the first and sole abstract painter in the canton of Aargau. However, he was strongly criticized for taking the path towards abstraction within his community’s artists’ circle. Lacking the presence of like-minded people in the local artist community, Urech-Seon re-oriented himself, turning to exhibitions of the avant-garde in Zurich and Basel (1932 Picasso, 1933 Braque, 1938 Le Corbusier) having found confirmation for his chosen artistic path. It was only when the artist joined the Allianz (Association of Modern Artists in Switzerland) in 1947, that his work received broader recognition. Thereupon, he was given opportunity to display his works in three Allianz exhibitions: at the Kunstverein St. Gallen (1947), at the Kunsthaus Zürich (1947), and the Helmhaus Zürich (1954), as well as at the Salon des Realités Nouvelles in Paris in 1948 and 1950.