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PETER LASZLO PERI
The asymmetrical constructivist paintings executed between
1920-24 signified the end of the easel painting. They were developed according to the theory that abstract forms painted on a rectangular canvas are dominated by the rectangular shape itself and therefore can only decorate it.
To avoid this predominance the shapes must determine their own contours and only then can a strong inner tension be created by abstract forms.
Although easel paintings covered in abstract shapes or figurative representations are continuous until today, their mother idea belongs in the past.A new art can only emerge by abandoning the rectangular background, by completely unifying painting, relief and sculpture, by experimenting and working with all kinds of new materials, for which experiments the constructivist art of 1920 dug the foundations.
Born in Budapest in 1899.
I did not study fine arts, but I did train in a mason's workshop.
1918-20 I worked in Budapest with the 'activist' group which produced the monthly publication MA (today).
1920-24 In Berlin, member of the Sturm Group. I worked first in the Expressionist movement and then later in the Dada movement.
1922 My first exhibition of constructivist paintings and sculptures in Der Sturm gallery.
1924-27 I studied architecture (Technical University of Berlin).
1928 I worked as an architect.
1929 I left architecture and started working again as a sculptor, creating figurative works but based on my knowledge of constructivist art. I experimented with the direct modeling of concrete sculptures and reliefs. My first experiences with this technique were from 1920 with constructivist sculptures.
Since 1933 I have worked in London where I developed my horizontal and diagonal sculptures which are modeled directly in situ not in the workshop. These sculptures protrude horizontally or diagonally from the wall of a building and I have already executed several of them on public buildings.
Since 1950 I have been modeling sculptures and reliefs in synthetic resin and concrete.
Since 1943 I have also worked as an engraver and etcher. Two suites of etchings and engravings, one on 'Gulliver's Travels' by Jonathan Swift and the other on 'Pilgrim's Progress' by John Bunyan are in the collection of the British Museum in London and in several private and public galleries.
At this time I am working on a series of etchings which have the inhabitants of London as their subject.
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