Monday, August 30, 2010

Growth programme painting...

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Untitled
(growth programme)
Peter Schmidt
1965
oil on canvas
126 x 126 cm
(Provenance unknown)
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Sunday, August 29, 2010

Curwen "Monoprint"...

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"Monoprint"
(Curwen)
Peter Schmidt
1968
Silkscreen and ink on board
38 x 53 cm
(Provenance unknown)
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"Programmed Tiddly-Winks 1"...

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"Programmed Tiddly-Winks 1"
Peter Schmidt
1967
Tiddly-Winks on board
178 x 178 cm
(provenance unknown)
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Note: this is a black & white photo of a color work.
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"Monoprint", Curwen...

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"Monoprint"
(Curwen)
Peter Schmidt
1968
Silkcreens and ink on board
38 x 53 cm
(Provenance unknown)
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Friday, August 27, 2010

"Rotaprints"...

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"Rotaprints", two pages
Peter Schmidt
Published by Editions Hansjorg Mayer, Stuttgart, 1968
Edition of 16
Ink on paper
(Collection of Jasia Reichardt)
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Three versions of the Alecto "Monoprint"...

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Peter's description of his motivation and processes.
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"Monoprint"
(Alecto)
Peter Schmidt
1968
silk screen print on board 102 x 76 cm
(Provenance unknown)
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"The Thoughts...", August 27, 2010...

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"The Thoughts Behing The Thoughts"
Peter Schmidt
2010
Web version
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Originally created in 1970
A wood box, with press type letters on unused fragments
of old work mounted on board with a perspex lid.
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Tuesday, August 24, 2010

Untitled, growth programme...

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Untitled
"growth programme"
Peter Schmidt
1966
oil on canvas
(Provenance unknown)
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"Tacky Dots 12"...

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"Programmed Tacky Dots 12"
Peter Schmidt
tacky dots on black canvas board, 81 x 81 cm
1967
(Provenance unknown)
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Note: this is a black & white photo of a color work.
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Monday, August 23, 2010

"Hawthorn", 1961...

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"Hawthorn"
Peter Schmidt
1961
oil on canvas, 32" x 22"
(Provenance unknown)
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Seen being painted in the BBC film
"Departures: Cubism and Beyond",
exhibited at Beaux Arts Gallery, 1961
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Jasia Reichardt on Peter Schmidt...

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From the catalogue of the Lignano Biennale I, 1968
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Peter Schmidt's use of sound...

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Peter Schmidt performing "A Painter's Use of Sound" at ICA, 1967
(Photo by Graham Keen)
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Sunday, August 22, 2010

"Window", a missing work...

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"Window"
Peter Schmidt
1962
oil on canvas
102 x 76 cm
(Collection of the UK Government Art Collection)
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Note: "Window" was purchased by the GAC in February of 1962 just after
Peter's first one man show at Beaux Arts Gallery, September/October,
1961. This painting is listed as "missing" at the GAC website, and
was last seen at the British Embassy, Lima, Peru circa 1974.
(Hats off to Rory Walsh)
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Peter Schmidt, prior to 1951...

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"Lot's Wife"
Carved from a block of salt
1950
(Unknown provenance)
As described by Ernest Cross, an RAF comrade of Peter's.
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These works and the photo are from before 1951.


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Bear Lane Gallery exhibition...

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Bear Lane Gallery
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Invitation to Peter Schmidt's show at Bear Lane Gallery, 1969
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Untitled
Peter Schmidt
gouache
76 x 51 cm, 1967
(Unknown Provenance)
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"Daylight Through Hedge"
Peter Schmidt
acrylic on canvas
102 x 102 cm, 1967
(Unknown provenance)
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Saturday, August 21, 2010

Curwen "Monoprint" from Australia...

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"Monoprint"
(Curwen)
Abstract Composition with circle, blue
Peter Schmidt
Lithograph on board, multiple screens with hand tinting
38.2 x 53.8 cm
1968
(Collection of and image supplied by the National Gallery of Australia, Canberra
Acquired as part of the Felix Man Collection, by special government grant, 1972)
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"Electronic Soupmixes"...

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"Electronic Soupmixes"
Peter Schmidt
Invitation to sound art performance
1969
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"A Painter's Use of Sound"...

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"A Painter's Use of Sound"
Peter Schmidt
Poster for a sound art exhibition
1967
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Friday, August 20, 2010

"The Thoughts...", August 20, 2010...

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"The Thoughts Behind the Thoughts"
Peter Schmidt
Web version, 2010
Originally created in 1970
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Thursday, August 19, 2010

"Monoprint" from down under...

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"Monoprint"
(Curwen)
Abstract composition with circle in the middle, green
Peter Schmidt
Lithograph on board, printed from multiple screens
38.2 x 53.8 cm
1968
(Collection of and image supplied by National Gallery of Australia, Canberra
Acquired as part of the Felix Man Collection, Special Government Grant, 1972)
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Thanks to Nick Nicholson at NGA, and Rory Walsh for the lead.
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Note: I have determined, based on the "Summary of Work" portfolios and the emergence of this Monoprint and another like it, that there were three distinct Monoprint types:
1. "Lisson": autobiographical, collage, 1968(see January entries).
2. "Alecto": round, three screen, 1968(see May entries).
3. "Curwen": round, organic, Dieter Roth influenced, 1969(seen above).
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Monday, August 16, 2010

"...the gradiations..."

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"The Clear Light"
Peter Schmidt
Acrylic on canvas
127 x 127 cm
1973
(Provenance unknown)
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"The Red Hole"
Peter Schmidt
Acrylic on mounted paper
189 x 122 cm
1973
(Collection of Simon Hilton)
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In Autumn 1973, I became interested in working with gradiation again. In these paintings the gradiations began to overlap and cut in on themselves.
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Peter Schmidt from "Summary of Work II"
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Saturday, August 14, 2010

Friday, August 13, 2010

"programme", revealed...

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From "Summary of Work", Volume I
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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.
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Peter Schmidt - Summary of Work...

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"Self Portrait"
Peter Schmidt
Oil on canvas, 76 x 61 cm
1961
(Provenance unknown)
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Feast or famine.
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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.
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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.
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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.
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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.
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An "Untitled" abstract painting...

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"Untitled"
Peter Schmidt
Oil on canvas board, 46" x 27.5"
1960-65
(Private Collection)
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"The Thoughts...", August 13, 2010...

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"The Thoughts Behind the Thoughts"
Peter Schmidt
Web Version, 2010
Based on the original from 1970
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Loose translation : We must somehow come a little bit more
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Thursday, August 12, 2010

"The Boat"...

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"The Boat"
Peter Schmidt
Oil on canvas board
1974
35.5" x 25.5"
(Private Collection)
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Friday, August 6, 2010

Tuesday, August 3, 2010

"...ideas."

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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".
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Peter Schmidt
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Monday, August 2, 2010

"...sense of daring..."

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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.
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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.
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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").
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Brian Eno, From Melody Maker, January 29, 1977
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