Peter Blume

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Not to be confused with Peter Blum.
Peter Blume
Purism, Cubism, Surrealism

Peter Blume (27 October 1906 – 30 November 1992) was an American painter and sculptor. His work contained elements of

Purism, Cubism, and Surrealism.[1]

Biography

Blume, born in

Jewish family,[2][failed verification] emigrated with his family to New York City in 1912; the family settled in Brooklyn.[1] He studied art at the Educational Alliance, the Beaux-Arts Institute of Design, and the Art Students League of New York, establishing his own studio by 1926.[3] He trained with Raphael Soyer and Isaac Soyer, exhibited with Charles Daniel, and was patronized by the Rockefeller family.[4] Blume married Grace Douglas in 1931; they had no surviving children.[1] In 1948, Blume was elected into the National Academy of Design
as an Associate member, and became a full member in 1956.

Works

An admirer of Renaissance technique, Blume worked by drawing and making cartoons before putting his work on canvas. He received a Guggenheim Fellowship in 1932 and spent a year in Italy. His first major recognition came in 1934 with a first prize for South of Scranton at a Carnegie Institute International Exhibition. The painting was inspired by a trip across Pennsylvania in an old car that required frequent repair.[1] Eternal City (1934–1937) was politically charged, portraying Benito Mussolini as a jack-in-the-box emerging from the Colosseum; as a one-man, one-painting exhibition, it excited considerable attention from critics and audiences.[1][5] This painting was inspired by Blume's trip to Italy which he took as a Guggenheim Fellow in 1932.[6] After the trip from Rome, it took Blume 5 years to create this piece of work. In 1943 when Mussolini was deposed from power, the Museum of Modern Art purchased the artwork for its permanent collection within that same week.[7]

Blume worked for the

U.S. Treasury Department, painting at least two post office murals, in Geneva, New York, and Canonsburg, Pennsylvania.[8]

Blume's works often portrayed destruction and restoration simultaneously.

1966 Flood of the River Arno in Florence along with restorers at work. The Metamorphoses (1979) invoked the Greek legend of Deucalion and Pyrrha, who repopulated the earth after a deluge.[1]

Gallery

  • Vegetable Dinner, 1927, Smithsonian Museum of American Art
    Vegetable Dinner, 1927, Smithsonian Museum of American Art
  • Buoy, 1941, Art Institute of Chicago
    Buoy, 1941, Art Institute of Chicago
  • The Two Rivers 1943, Federal Building, Post Office & U.S. Courthouse, Rome, Georgia
    The Two Rivers 1943, Federal Building, Post Office & U.S. Courthouse, Rome, Georgia
  • The Rock, 1944-1948, Art Institute of Chicago
    The Rock, 1944-1948, Art Institute of Chicago
  • Banyan Tree, 1961, Smithsonian Museum of American Art
    Banyan Tree, 1961, Smithsonian Museum of American Art

References

  1. ^
    New York Times
    . Retrieved 2008-10-14.
  2. ISBN 9780742546417
    . Retrieved 23 February 2017.
  3. MOMA
    . 2007. Retrieved 2008-10-14.
  4. Smithsonian Museum
    . Retrieved 2017-02-23.
  5. ^ "Image of Italy". Time. 1937-12-06. Archived from the original on October 26, 2012. Retrieved 2008-10-14.
  6. ^ Soby, James (1943). "ARTICLE FROM THE FORTHCOMING MUSEUM BULLETIN, MARCH 1943" (PDF). MOMA.
  7. ^ Johnson, Ken (January 15, 2015). "Vivid Visions, Unsettling Still". The New York Times.
  8. ^ Park, Marlene and Gerald E. Markowitz, Democratic Vistas: Post Offices and Public Art in the New Deal, Temple University Press, Philadelphia, 1984 p. 84

Further reading

External links
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