In the Arctic

 

ARCTIC BIRD I.   1964 Etching.  Combined technique with cut plates; six colors 36 x 24 in.      Ed. 25            CR #223  photo by Indianapolis Museum of Art
ARCTIC BIRD I.  1964
Combined etching technique; six colors
36 x 24 in.     Ed. 25       CR #223
photo by the Indianapolis Museum of Art

In 1963 [Peterdi] took part in a seminar held at the University of Alaska in Fairbanks. From this vantage point he flew over the Arctic regions with one of the indomitable bush pilots. This was an entirely new experience in landscape, where great flat icecaps glistened with a hard blue light and where the only sound was the boom of the ice sheets breaking … More than a year later the colors and mood of the northern landscape began to appear in Peterdi’s paintings and prints. … (Una E. Johnson, Gabor Peterdi: Graphics 1939–1969, Touchstone Publishers, Ltd • New York ©1970)

“In April of 1963, … [he visited] Anchorage, Nome, Kotzebue, and Point Hope with former student Danny Pierce. Over the following two years, he worked on paintings and prints related to his Arctic experience.”  (Wikipedia)

 


 

Early biography

 

Peterdi at age 15 Rome, Italy  1930
Gabor Peterdi at age 14   

Gabor Peterdi was born September 17, 1915 in Pestújhely, a working-class suburb of Budapest. He grew up as an artistic prodigy encouraged by informal painting lessons at home. His parents, Andor Peterdi and Zseni Várnai, were poets; well-known, respected, and poor. In 1917, the family moved to Budapest; then in 1919, to Rozsadom [ ‘Hill of Roses’] in Buda, overlooking the city. Peterdi later wrote,

I spent ten important years of my life there …  My intimate contact with nature, and our home filled with artworks stimulated me to start painting. Prominent artists, friends of my father, visited often, and gave me art supplies accompanied with casual information. Thus from the age of four until the age of fifteen, when I had my first one-man show, I received my informal art education. 

Among those prominent artists was painter Gyula Rudnay [1878-1957]. Influential mentors were painter Rezső Balint and his art critic brother, Jenő. It was Jenő Balint who wrote the newspaper article that heralded Peterdi’s first show in 1930.

Resző had spent his youth in Paris where he knew Modigliani, Soutine, and others of their circle. He introduced me to avant-garde painting and instilled in me the desire that eventually drove me to Paris.

Peterdi’s academic education was informally grounded in his parents’ library. Often truant at school, by age fourteen he had become something of an auto-didact, reading the great Russian and French authors as well as Shakespeare [in Hungarian translation]. By age 14, he was also reading art history privately in weekly sessions with Dr. Béla Lázár in his Ernst Museum reference library. In order to secure his future, he did study for a short time in the studio of painter Istvan Szőnyi at the Hungarian Academy and joined life drawing classes there. He spent that summer in an artists’ colony in Kecskemét. In October 1930, he exhibited 30 paintings in a one-man show at the Ernst Museum. With special dispensation, he was awarded a studio in the Hungarian Academy in Rome [Prix de Rome]. He left Hungary.

Peterdi color prints

HALEAKALA. 1973 Relief etching on zinc; surface and intaglio color  24 x 36 in.  Ed. 100, AP 10, HC 7         CR#337
HALEAKALA. 1973
Relief etching on zinc; surface and intaglio color
24 x 36 in.    Ed. 100, AP 10, HC 7      CR#337

Often mistaken for a painting, HALEAKALA is a print. Impressions of it occasionally turn up with margins concealed or completely cut away (as shown here). Its size [2 x 3 feet] may also suggest displaying it as if it were a painting.

The ‘painterly quality’ of the image has been achieved with standard printmaking technique. The vivid color and organic shapes reflect Peterdi’s actual experience of Haleakala Crater during his second artist residency in Hawai’i. One of his students with an appropriately rugged vehicle drove him up the steep and winding road to the very peak [est. 10,000 ft. or more] by which time a strong, cold windstorm was blasting through. “The volcano was not active—but the colors were,” he replied in a letter to Jane Haslem, who had asked him about it. “The ash in the crater was an array of the most gorgeous colors—red, purple, violet …”

Whether creating a painting or a print, Peterdi would have first dreamed it, his dream revealing the intended image as well as the method for achieving it.

“Some things I can do only as a painting; for other things, I must make a print,” he used to say. “In the same way a bird needs two wings to fly, both are equally necessary for me.”

note: Haleakala [‘House of the Sun’] is a massive shield volcano
that forms more than 75% of the Hawaiian Island of Maui.
[Wikipedia]


Peterdi color prints

/Users/joan/Desktop/Sign of the Lobster 1947.rtf
SIGN OF THE LOBSTER. 1947
Etch., engr., aqua., on copper with 8 stenciled colors 
20 x 15 in. Ed. 30 UJ #037
Carla Esposito [Mme. Julien Hayter] co-curated a series of three Hayter retrospective exhibitions (each with its own catalogue in a different language) in Britain, France, and Italy. The above quotes come from Gabor’s answers to her questions sent by mail. Later on, Carla spent a day with Peterdi in Rowayton, deepening the interview and selecting snapshots of Hayter in the original Atelier 17 in 1930s Paris.
   

“June 10, 1989

“Dear Ms Esposito:
“Thanks for your letter and the invitations to participate in the show. … I will send the print “Sign of the Lobster” to the Mary Ryan Gallery. …This print is in many Museums, including The Museum of Mod. Art. N.Y., with 11 state proofs. The edition was sold out long time ago; that’s the only proof I have….

“My work of this period was considered by many as Surrealist, but the Surrealist dogma was alien to me. I never was a joiner, and Andre Breton’s dictatorial control of the Surrealist group [Paris] repelled me. Although on the surface my romantic, at times violent imagery dealing with death and sex was considered by many as surrealist, my aesthetic was totally different . …

“I started to work again in the Atelier 17 (NY) in 1941. My main reason to join the Atelier at that time was to have access to a workshop where I can make prints. Hayter was a generous friend and he let me use the shop when I wanted. He gave me a key so I could work there any time I wanted. “The Sign of the Lobster” was made during this period. Eventually I acquired my own press, and set up my own workshop. That’s when I started really intensive experimentation with color….”

Often cited as his first color print, this one was actually the third. Earlier the same year Peterdi published SIGN OF THE ROOSTER  and THE DREAMY LOBSTER.
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Peterdi bronzes

Spring Dance

SPRING DANCE    1977
bronze     7-3/4 x 7-3/4 x 1/4 in.

Peterdi bronzes

In the ‘70s, Peterdi created six images in the form of tiles or plaques for hanging on a wall, presumably to be sold in sets of six in an intended edition of 250. Lublin (CT publisher) was involved as was ‘Collectors Guild.’ We don’t know the foundry. We think the date is 1977.

The six images are THE FOREST, SPRING DANCE, THE SURF, SEA AND SKY, UNDER THE REEF, and SUMMER BREEZE. Those familiar with Peterdi will recognize these as themes in all his works. Yet none of these bronzes is a copy – or even a reworking– of any other Peterdi image.

Each is uniquely scaled as a complete miniature work on its own. Each is a 6 x 6 inch relief within its own firm boundaries rising from a self-frame of solid bronze.

Thanks to Randall Harris, without whom we wouldn’t have the complete set for our Archive. More individual pieces or sets might be available from him at Figureworks (Brooklyn NY). Figureworks

Thanks to Mac Chambers as always for the referral (Hudson, NY).

Queries:
Does anyone know the name and location of the foundry where the bronzes were editioned? The actual production date? 

Who knows something about working arrangements among Lublin, Peterdi, and the Collectors’ Guild?

Could there originally have been more than six images in the set?

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