Elmo Alfred Brule

Elmo Alfred Brulé Jr
Born	April 24, 1917[1][2] Sacramento, California
Died	May 24, 2001 Oklahoma City[1]
Cause of death	Alzheimer's
Resting place	Committal at sea, off the coast of Camden, Maine
Occupation	Artist
Spouse(s)	Betty Ruth McConnell Fern Horton
Parents	Elmo Alfred Brulé Sr.[3][4] Sophie Theresa Bexen[3][5][6]

Biography

Elmo Alfred "Al" Brulé Jr., an American artist working primarily with oil and water colors, was born in Sacramento, California in 1917, the son of attorney Elmo Alfred Brulé Sr. and Sophie Theresa Bexen Brulé. While living in Sacramento, at age 12, he was already working outside the home.^[7] Brulé had a strong artistic talent which lead him to his first showing at age 14^[8] at the Northern California Artists Annual Show held at Crocker Art Gallery in Sacramento.^[9] His schooling in California^[10] at the University of California, Chouinard Art Institute, Otis Art Institute and California College of Arts and Crafts,^[11] made it possible for him to move quickly into employment with Disney and Warner Brothers Studios, Hollywood, from 1937-1938.^[12][8]

After leaving California in 1941 to head for New York City, Brulé attended the Art Career School and later taught there.^[8] He studied privately with the great realist and illustrator Harvey Dunn who influenced his developing style.^[9][13] In New York, Brulé advanced his career in illustration and pin-up art. The artist worked for a number of magazines: Cosmopolitan, American Magazine, Woman's Day, Good Housekeeping, Woman's Home Companion, Today's Woman, Collier, Family Circle, McCall's^[8] and others. He was associated with the Charles E. Cooper Studios and listed among other contemporary artists. During this time, Brulé also worked for book publishers that produced such children's titles as National Velvet,^[14], The Lord's Prayer^[8] and The Golden Stallion, among others, and illustrated covers for pulp fiction books through Ace Publishing, Beacon Signal, Belmont, Dell Book, Lion Library, Penguin Signet Books, Pocket Books, Inc. and Pyramid. He was well known for his work with Esquire producing calendar pin-ups. Actress Ellen Burstyn (and others) served as models for Brulé, and Burstyn's likeness can be found in his commercial work.^[15] The artist painted his good friend singer Sergio Franchi and also instructed him in art.^[16] At a White House ceremony, the Boys Club of America presented President Kennedy a painting the club had Brulé paint in 1961.^[9]

In 1964, the artist moved to South Berwick, Maine, to further his career in fine art painting. During this period, he focused on painting "the disappearing America".^[9] Brulé captured images that were quickly fading from the landscape. He taught many students in South Berwick in several locations: the Counting House, Berwick Academy, the building to the right of the Odd Fellows Block, Bishop's shop (which was at the corner of Main Street and Sewall Road) and from his home on Main Street.^[17] He was invited to paint the Shakers at Canterbury, New Hampshire, the only artist ever allowed to paint them and their way of living. In May 1972, Brulé had a one-man show in Rockland, Maine at the Farnsworth Art Museum.^[9]

Beyond Maine, Brulé was commissioned in 1974 by the National Aeronautics and Space Administration to paint the Kohoutek Comet viewed from the Skylab.^[9] In the mid to late 70's, his focus turned to his Sioux Indian heritage, which lead him to South Dakota on the Lower Brulé Reservation. He had a way of capturing the feelings of his subjects which is evident in his work. Brulé's art has been exhibited together with the Wyeth's.^[8] Most frequently, his art was compared to Andrew Wyeth's although, generally, Brulé's work is brighter and warmer in color and feeling. Rather than just Andrew Wyeth, his art would be better said to resemble elements from all three generations of Wyeths: N.C. Wyeth's illustrations, Andrew Wyeth's realist paintings and Jamie Wyeth's wider color palette. Notable institutions have exhibited Brulé's work: The Farnsworth Art Museum in Rockland, Maine, and The Smithsonian Institution in Washington, D.C..^[18] Brulé's work can be seen at the Counting House Museum,^[19]Sarah Orne Jewett House,^[20][21] and Berwick Academy^[22] in South Berwick, Maine, also at the Washington County Museum of Fine Art^[23] in Hagerstown, Maryland, and at the Spencer Museum of Art^[24] in Lawrence, Kansas. Tear sheets, part of the Walt Reed collection, can be found at the Modern Graphic History Library at Washington University in St. Louis, Missouri.^[25]

Upon his death, Brulé's ashes were scattered over the Atlantic Ocean off his beloved coast of Maine.

References