ErhardGrüttner: Visual Symphony Article and Video interview. Link at Bottom of Page.
In the bustling narrative of design, Erhard Grüttner emerges as a virtuoso, orchestrating a visual symphony that transcends time and captivates the soul. Born in the artistic enclave of Wohlau on February 26, 1938, Grüttner’s journey reads like a gallery of triumphs, each stroke on the canvas a testament to a life dedicated to graphic design, poster art, and illustration.
Post-schooling and an apprenticeship in the craft of Schriftlithograf, Grüttner embarked on an odyssey at the Hochschule für Grafik und Buchkunst Leipzig. There, under the tutelage of the maestro Bernhard Heisig from ’57 to ’62, Grüttner imbibed the art of Free Graphics and Painting, laying the foundation for his future magnum opus.
Armed with a creative quiver, Grüttner lent his talent to Berliner Progress Film-Verleih, etching his name in the annals of design history. His designs for DEFA classics, notably “Der Untertan,” and the banned masterpiece “Spur der Steine,” were not mere posters but cultural proclamations.
The academic epoch beckoned, and from ’95 to ’07, Grüttner held the prestigious post of Professor for Graphic Design at Hochschule Anhalt. Post-retirement, he reclaimed his status as a freelance maverick, weaving his artistic tapestry with newfound vigor.
Grüttner’s posters, those visual hymns, have found refuge in international galleries – from the Deutsches Historisches Museum to the Centre Georges-Pompidou in Paris. His creations dance with eloquence, bearing witness to the richness of his artistic lexicon.
The crescendo of Grüttner’s career is underscored by accolades – Bestes Plakat 69 for “Hiroshima, mon amour,” Kunstpreis der DDR in ’81, and a 1st Prize at the ’07 International Poster Competition in Hong Kong for “Michael Kohlhaas.” Each accolade, a note in the symphony of his brilliance.
Beyond posters, Grüttner’s artistic notes grace the pages of literary works by authors such as Elfriede Brüning and Hermann Kant, demonstrating a melodic convergence of art and literature.
In the quietude of Blankenfelde-Mahlow, Grüttner, alongside his muse Roswitha, continues to compose the visual overture of life. His legacy is a timeless composition that resonates in galleries and hearts alike.