Word: blume
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Dates: during 1930-1939
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...Eternal City is not a large canvas (45½ in. by 59½ in.), but it took the artist two years to conceive, three years to paint. Stalwart, tranquil Peter Blume was 26 when he got a Guggenheim fellowship, took his young wife Ebie to Italy in 1932. They stayed eight months, lived in Florence for a while and then in Rome. Like other travelers in Italy that year they ran into a great deal of marching in celebration of the loth Anniversary of Mussolini's March on Rome. They met smart Italian officers in powder-blue caps...
...clothespins, a stiff collar, pearl necklace, a child's umbrella, a braid of auburn hair and a number of hairpins twisted to form a human face. There were in addition, books, prints and paintings ranging from the 18th to the 20th Century, from Pieter Bruegel to contemporary Peter Blume. Having done its best to explain abstract art to the U. S. public last spring (TIME, March 9), the Museum of Modern Art was now attempting to explain another exotic movement with an equally important show broadly titled Exhibition of Fantastic Art, Dada and Surrealism, or Art of the Marvelous...
...usual, professional art critics whose annual junket to Pittsburgh is a sort of esthetic American Legion Convention, turned up their noses at the choices of the prize jury. In 1934 they objected to Peter Blume's surrealist South of Scranton as the work of a decadent school of non- sense. In 1935 Spanish Hipólito Hidalgo de Caviedes' prizewinning picture of a young Negro couple on a sofa was held inferior to dozens of U. S. paintings of the same type. Of Leon Kroll's Road From the Cove Critic Henry McBride wrote...
Blond, muscular, young Surrealist Peter Blume upset many a critic two years ago when he won first prize in Pittsburgh's Carnegie International Exhibition with a slickly painted abstraction of twisted topography and soaring sailors called South of Scranton (TIME, Oct. 29, 1934). One of the eight art Fellowships went last week to Surrealist Blume to continue daubing at a small anti-Fascist canvas he began on Guggenheim funds...
...that Andrew Mellon paid the Soviet Government in 1934 for one Raphael Madonna (TIME, Aug. 27, 1934 et seq.) Yet for her money Mrs. Rockefeller was able to get good, if not great, examples of almost every well-known modern from Odilon Redon to Peter Blume...