Günter Haese (Kiel 1924 - Düsseldorf 2016) began to paint and draw from a very young age in a natural and self-taught way until he was 26 years old and enrolled in the Art Academy of Düsseldorf, where he studied under the tutelage of Edwald Mataré and Bruno Goller, together with other artists such as Joseph Beuys, Erwin Heerich, or Georg Meistermann. He quickly became part of the Master Class of Sculpture with the artist Edwald Mataré, who later assisted as an assistant in his work for the Cologne Cathedral. It was Mataré who took seriously his careful studies of nature, orienting him towards sculpture.
Influenced by his master, Haese abandoned the engraving of crystal plate monotypes, in which he was already exploring reticular motifs, and found the materials for his new works while dismantling a broken watch. From then on he used pliers, clamps and welders to build his works with brass meshes and copper wires. He thus evolved towards more stable figures made with chronometer pieces, and went on to design what he would later define as "freer rhythmic and scenic events".
In 1963 he sent the Junger Westen Prize his first series of sculptures, relatively simple compared to later ones. With surprising rapidity, he expands and defines in the following years his personal vocabulary with which he worked since then. In 1964 he presented his first exhibition at the Ulmer Museum. It raised so much expectation that in the same year he held an individual exhibition at the MOMA, Museum of Modern Art in New York and was invited to participate in the Documenta III of the city of Kassel with artists such as Hans Arp, Francis Bacon, Max Bill, Constantin Brâncusi, Alexander Calder, Charles Eames, Wassily Kandinsky, Joan Miró, Piet Mondrian and Egon Schiele among others.
Influenced by his master, Haese abandoned the engraving of crystal plate monotypes, in which he was already exploring reticular motifs, and found the materials for his new works while dismantling a broken watch. From then on he used pliers, clamps and welders to build his works with brass meshes and copper wires. He thus evolved towards more stable figures made with chronometer pieces, and went on to design what he would later define as "freer rhythmic and scenic events".
In 1963 he sent the Junger Westen Prize his first series of sculptures, relatively simple compared to later ones. With surprising rapidity, he expands and defines in the following years his personal vocabulary with which he worked since then. In 1964 he presented his first exhibition at the Ulmer Museum. It raised so much expectation that in the same year he held an individual exhibition at the MOMA, Museum of Modern Art in New York and was invited to participate in the Documenta III of the city of Kassel with artists such as Hans Arp, Francis Bacon, Max Bill, Constantin Brâncusi, Alexander Calder, Charles Eames, Wassily Kandinsky, Joan Miró, Piet Mondrian and Egon Schiele among others.
