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Ana Peters (Bremen, 1932- Dénia, 2012).

Ana Peters was a relevant contemporary artist for her important artistic work in the intellectual and cultural period of the Spanish Franco regime and for her later production in the field of abstraction. Born in 1932 in Germany, Bremen, Ana Peters spent most of her life in Spain where she developed the greatest part of her artistical career and created the main part of her works. Biography.

Ana Peters moved to Spain with her family in 1942, where her father was destined as a consignee, during the Second World War and after severe bombing in Bremen, city in which she lived. She grew up in Valencia and attended the established German School there. She travelled to Germany often where she became familiar with German art and artists. Caspar David Friedrich and Emil Nolde and in particular Paula Modersohn- Becker, who would be her primary reference, influenced her work. She met historian and art critic Tomas Llorens Serra in Alvaro Falomir´s studio in Valencia in 1961 and they married in Bremen in 1964, year in which both cooperated with the Valencia group of Estampa Popular. They also participated in the initial founding meetings of the art group Equipo Crónica for which Tomas Llorens Serra prepared a series of diverse catalogues and theoretical texts. In 1973 Ana Peters moved with her family to England, settling in the city of Portsmouth. Some years later, in 1985 they returned to the Valencia region and settled in Denia, Alicante, where Ana Peters set up her studio and lived until 2012.

Educational and artistical Background

Ana Peters was since early childhood interested in painting. She initiated her artistic studies at the Escuela de Bellas Artes y Oficios and at the Escuela de Bellas Artes, both in Valencia, and subsequently in Madrid in the Real Academia de Bellas Artes de San Fernando. In Madrid she became acquainted with contemporary art and artists from both her generation and that preceeding hers. Artists included Lucio Muñoz, Amalia Avia, Gerardo Rueda, Antonio López and Alfons Fraile with whom she completed various wall paint orders. In 1959 Ana Peters returned to Valencia and although she produced some abstract work within the lyrical abstraction movement, (movement to which she returned a few years later), she opted in the mid 60s for graphic art of the mass media and became a member of the artistic group Estampa Popular. Originating in Madrid and formed by artists positioned against Franco’s dictatorship, this group became artistically active in Valencia between 1964 and 1968. Estampa Popular derived from a previous Mexican artist group with similar active political action called Taller de Gráfica Popular. In Valencia the young artists linked to Estampa Popular, including Ana Peters, decided to apply a sophisticated artistic language approach linked to comic strips and commercial publicity work through the use of stamping and serigraphy for reproduction. This differentiated their work from that of the Madrid group which preferred the more contemporary tradition of expressionist realism influenced by Picasso.

Ana Peters also participated in some of the first establishment meetings for the Equipo Crónica which through its art work became overlapped with that of Estampa Popular on prints, posters, calendars, postcards and comics during a few years. In this context, it is important to highlight the use by Peters of a wide range of graphic resources with Estampa Popular which she continued to manage on selected works and on occasion of presenting a critical analysis of female types as defined by the consumer society and under Franco’s regime.

With this scope she presented her work on three exhibitions in Valencia and a bolder one in Madrid in 1966. Influenced by Rouschenburg she exhibited pop art work but she did not receive any notable reaction to her production. As a result, Peters decided to voluntarily stop painting towards the end of that decade.

Within her artistic scenarios she was also involved with cultural groups that supported Estampa Popular, Editorial Garbi and the bookshops Concret Llibres and designed for them their business space and shops. This led to a broader activity in the decoration of interiors for specific book shops and homes as designed by the arquitect Emilio Gímenez, one of which included Andreu Alfaro´s home in Rocafort. Ana Peters designed shelf structures, furniture and stairways and selected textiles and upholstery in a range of novel material and modern designs. During her early stay in Portsmouth, Peters created collages, mainly because she required less space and materials then with other works. Soon though, she broadened her creative work types. Back in Spain, she initiated work on the movement of color fields defining her own style and achieved artistic maturity. In 1990 she arrived at the type of art that characterizes her work, monochromes, which by then were conformed as an established tradition in 20th Century Art. This move can be defined as her second artistical period in which she submerged in abstract creation. Ana Peters monochromes are subtly touched by waves, spots, marks or lines that wish to suggest soft natural movements, moods and specific moments, artwork which renews itself at each reread. Peters in this period also became interested in exploring the relation of colors with light for which she used an extensive chromatic range and applied them to her individual color works.

Expositions.

Ana Peters participated in numerous individual and collective expositions and through her artistic career, her work became known internationally,

Individual Expositions: 1958-2002

• Sala Mateu, Valencia, 16-IV-1959, 8-V-1959 y 30-X-19645

• Galería Edurne, Madrid, “Imágenes de la mujer en la sociedad de consumo, IV-1966

• Galería Punto, Valencia, 18-V-1993.

• Galería El Coleccionista, Madrid, 5-X-1993.

• Galería Italia, Alicante, 22-IV-1994.

• Galería Canem, Castellón, 6-IV-1995.

• Galería Mona, Denia (Alicante), 2-VI-1995.

• Sala Universidad de Alicante, (Alicante), 19-XII-1997.

• Galería El Coleccionista, Madrid 4-XI-1997.

• Galería Punto, Valencia, 8-I-1998.

• Ayuntamiento de Bellreguard, Bellreguard (Valencia), 23-I-1998.

• Galería Canem, Castellón, 15-IV-1998.

• A la mar de Denia, Centre Cultural d’Alcoi, Alcoi (Alicante), 4-V-1999.

• Galería Pilar Mulet, Madrid, 18-XI-1999.

• Ana Peters, Museu de la Ciutat, Valencia, 12-III-2000 – 14-V-2000.

• Galería Silvia Ortiz, Denia (Alicante). 2001.

• Embajada de España, La Habana. 2001.

• Galería el Sol, Altea (Alicante). 2002.

• Ana Peters, IVAM, Valencia, 5-IX-2007 – 4-XI-2007.

•Homenaje a Ana Peters, IVAM, Valencia, 22-III-2012 – 16-IV-2012.

• Ana Peters. Homenaje, Galería Punto, Valencia, 27-III-2014 – 15-V-2014.

• Ana Peters. Mitologías políticas y estereotipos femeninos en los sesenta, IVAM, Valencia, 23-VII-2015 – 22-XI-2015.

Collective Expositions: 1958-2018

•	Sala Diputación de León, León, 30-XI-1958.•	Ayuntamiento de Segorbe, Segorbe, 4-IX-1960.

•	Ateneo Mercantil “Salón de Otoño”, Valencia 10-IX-1960.

•	Ateneo Mercantil “Seis Pintoras”, Valencia 13-III-1961.

•	Librería Abril, Madrid, 16-XI-1961.

•	Estampa Popular, Valencia, IV-1964.

•	Martínez Medina, “Tres pintoras”, Valencia, IV-1965.

•	Bienal de Venecia. “España. Vanguardia artística y realidad social, 1936-1976. Venecia. (14-VII-1976 al 10-X-1976).

•	Instituto Valenciano de Arte Moderno, Un siglo de pintura valenciana, Valencia, 20-V-1994

•	Galería Jorge Mara, El color de los sueños. (V-1994 a VI-1994).

•	Galería Elvira González, Dibujos, Madrid, 7-V-1994.

•	Galería El Coleccionista, En torno al Mediterráneo, Madrid, 7-V-1996

•	Museo de Bellas Artes de Valencia, Mujeres que fueron por delante, Valencia, 8-III-1998.

•	Atarazanas, Homenaje a José Mateu, Valencia, VII-1998.

•	Galería El Coleccionista, Madrid, IX-1999.

•	Museo Nacional de Cerámica y Artes Suntuarias González Martí, Juguetes para Ícaro: Abanicos de dos mares. Valencia. (28-VI-2000 al 31-VII-2000)

•	Atarazanas, Las Bellas Artes en el Siglo XX. Valencia, (diciembre 2003 - febrero 2004).

•	Museo Nacional de Arte Contemporáneo Reina Doña Sofía, Monocromos, de Malevich al presente. Madrid. 2004

•	Instituto Valenciano de Arte Moderno, IVAM, Entre bambalinas: arte y moda. Valencia, (18-VI-2013 al 20-X-2013)

•	Museo de Bellas Artes de Bilbao, “Equipo Crónica”. Bilbao, (10-II-2015 al 18-V-2015)

•	Instituto Valenciano de Arte Moderno, IVAM. Colectivos artísticos en Valencia bajo el Franquismo. 1964-1976, Valencia, 2016.

•	Centro Cultural Bancaja. “Exposicion antológica de Equipo Crónica”. Valencia. (22-IX-2016 al 08-I-2017).

•	A contratiempo. Medio siglo de artistas valencianas, IVAM, Valencia (26-IV-2018 al 2-IX-2018).

•	Instituto Valenciano de Arte Moderno, IVAM. “España. Vanguardia artística y realidad social. 1936-1976. CASO DE ESTUDIO. Valencia. (13-IX-2018 al 13-01-2019)

•	Ocultes e il·lustrades, La Nau, Universitat de València, (octubre 2018).

Art Fairs: 1990-2018

In the international context her work has been shown in the Cologne Art Fair, the Chicago Art Fair, FIAC (Paris), and ARCO (Madrid).