Invitation to Peter Schmidt's show at Bear Lane Gallery, 1969 . . . Untitled Peter Schmidt gouache 76 x 51 cm, 1967 (Unknown Provenance) . . . . "Daylight Through Hedge" Peter Schmidt acrylic on canvas 102 x 102 cm, 1967 (Unknown provenance) . . .
I read about "programme" on Peter's Wikipedia page several years ago. I have been familiar with this group of works, as "Droplet" and "For Esme" were created under it's guise, though I didn't know it was "programme". Several images of these works were donated by Hansjörg Mayer a few months back. .
. . Feast or famine. . Having just about run out of materials to feed this personal beast, PeterSchmidtWeb, I have been stretching out "The Thoughts Behind the Thoughts" over the past couple of months. Recent eBay auctions, and some quotes I've been collecting have somewhat rounded things out. Very hungry, bordering on bored. . I remembered when I first met Peter's family in Southwark in 2007, I was shown a couple of scrapbooks. At the time I was only aware of about 15 of his works. The books were certainly of interest, though my journey to London was to see paintings. I don't even think the website was more than an idea. . Last week I spoke with Simon, and enquired about the scrapbooks. My recollections of the bits and pieces I could remember, told me there was a treasure trove of information, that would keep the beast at bay for some time. He offered to send them over to me in New York for digestion. . The books arrived today. I relaxed, posted today's "...Thoughts", made a cup of coffee and opened the package. The two "Summary of Work" portfolios are indeed chock full of ephemera, which I, your humble curator, find truly elucidating. Assembled in 1975, and reaching back as far as the late 1940's. These books will help to fill in many of the blank spaces which have existed in Peter's oeuvre, for me, for some time. They are rich with details, and images of unseen works. It will take weeks to scan and months to post. These books will double the size of the collection. A feast for this beast. . . .
. . . Brian didn't really tell me much about what he was doing, we just talked about ideas. I think he used my ignorance of his more public activities to get away from them and keep his other interests alive". . Peter Schmidt . . .
. . . Later in the evening we talk about the work of Die Brucke, the group of German painters active between 1905-25, who impressed us all so much in Berlin. I particularly liked Otto Mueller and Karl Schmidt-Rotluff. . Peter posed the question: "What could one do now that would have the sense of daring which those works had?" I reply that I think the answer must lie in doing things that are very quiet, which make no assault, and perhaps do not obviously trade in novelty. Like watercolours. At a time when drama is at a premium, reticence and delicacy communicate best. . Before I leave, we discuss the possibilities of marketing visual objects in the way that records are sold. We both agree that this would drastically alter the nature of contemporary painting, since it would once again put it in touch with demand on the level of a genuine response to the work itself, rather than to its "value" (be that financial or "cultural"). . Brian Eno, From Melody Maker, January 29, 1977 . , ,