1915 (Pestujhely, Hungary)
2001 (Stamford, Connecticut)
Often Known For
non-ob graphics, modernist-leaning landscape painting, teaching
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|This biography from the Archives of AskART:|
|A painter, print maker and teacher, Gabor Peterdi is best known for his
intaglio prints and engravings although he worked in a variety of media
and themes. He made his first color print, Sign of the Lobster, in
1947. One of his early themes was focused on destruction and appeared
in his Black Bull series of 1939, which was tied to Surrealism.
Expressing his thoughts on this, he said: "All miracles of nature and
behind it all the lingering terror of the atomic age---I want to paint
all this and say 'A man was here.' " (Baigell 273). Other subjects
related to elemental forces of the universe.|
He was born in
Pestujhely, Hungary and studied at the Hungarian Academy of Fine Arts,
the Academy Belle in Rome, and the Academy Julian in Paris. He was
associated with the Stanley William Hayter Atelier 17 from 1933 to 1939
in Paris and again in 1947 in New York City. (Hayter, 1901-1988, was a
highly influential abstract painter who taught many young modernists at
his experimental Atelier 17).
Peterdi arrived in America in
1939. He eventually settled in Rowayton, Connecticut where he taught at
the Yale University School of Art, 1960 to 1970s. He also spent time in
Hawaii as a teacher at the Honolulu Academy of Art, the Brooklyn Art
School (1948-1952), and Hunter College from 1952 to 1959.
Matthew Baigell, Dictionary of American Art
Peter Hastings Falk, Editor, Who Was Who in American Art
|This biography from the Archives of AskART:|
|Gabor Peterdi was born in 1915 in Pestujhely, Hungary. He studied at
the Hungarian Academy of Fine Arts, the Academy Belle in Rome and the
Academy Julian in Paris. He was associated with the Stanley William
Hayter Atelier 17 from 1933 to 1939 in Paris and again in 1947 in New
Peterdi arrived in America in 1939; he eventually
settled in Rowayton, Connecticut where he taught at the Yale University
School of Art from 1960 to 1970. He also spent time in Hawaii as a
teacher at the Honolulu Academy of Art and at the Brooklyn Art School
from 1948 until 1952 and Hunter College in New York City from 1952
Peterdi was best known for his intaglio prints and
engravings although he worked in a variety of media and themes. He died
From the Internet, AskART.com
Written and submitted by Jean Ershler Schatz, artist and researcher form Laguna Woods, California.
|Biography from Annex Galleries:|
|Born in Budapest on September 17, 1915, Gabor Peterdi began his studies
at the Hungarian Academy. His first solo exhibition was mounted
at the Ernst Museum when he was just fifteen years old. In 1930
Peterdi won the Prix de Rome for painting and continued his studies at
the Academia delle Belle Arti. The following year he went to
Paris to attend the Academie Julian and the Academie Scandinavien.
There, the young artist met Szenes and Maria Helena Vieira da Silva,
and was thrust into the avant-garde.|
Peterdi joined Atelier 17
in Paris in 1933, and through Stanley William Hayter (cat. 60) he
became enchanted with the burin and the plate. Gradually
developing an intimacy with engraving, he explored every phase of the
In 1939, Peterdi emigrated to the United
States. Later that year, his first American one-man exhibition of
paintings opened at the Julien Levy Gallery in New York. Seven years
later, having served in the army, Peterdi resumed his printmaking
career at Atelier 17 in New York. He found working with the
copperplate cathartic after his military experiences. His first
prints reflected the horrors and destruction of war, but he soon began
representing natural awakenings and biblical beginnings in such works
as Adam and Eve (Johnson 35). At this time, the artist created his first color intaglio, Sign of the Lobster
(Johnson 29), which incorporated eight stenciled colors and an etched
and engraved key plate. Here Surrealism resurfaced in a
distinctive, personal response to Hayter and Miro.
his activity at Atelier 17, Peterdi began teaching at the Brooklyn
Museum in 1948, organizing the graphic arts workshop there. His
paintings and prints of this period were dominated by his own gestural
imagery, the result of exposure to Abstract Expressionism.
Peterdi’s creative approach to intaglio continued to expand as he
invented new techniques and printed from ever larger plates.
In 1952 he became an associate professor of art at Hunter College,
where he taught until 1959. In 1953, he also began teaching at
the Yale-Norfolk summer school, and he joined the art faculty of Yale
University as a visiting professor, gaining a full-time appointment in
1960. Today Peterdi sustains a close association with Yale
through his position as professor emeritus.
In 1959, Peterdi’s book Printmaking Methods Old and New
was published. It remains a standard technical reference for both
printmaking students and professionals. Peterdi has also exerted his
influence on American printmaking in well over a hundred solo
exhibitions. Currently, the artist continues to work and exhibit widely.
From David Acton’s A Spectrum of Innovation: Color in American Printmaking 1890-1960, Wooster Art Museum, 1990
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