Julia Passing

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Peter Milton
Julia Passing
1967

About the Item

lift ground intaglio etching and engraving. Pencil signed and dated lower right, numbered 97/100 lower left and titled center. Accompanied by a Scudder Gallery, Durham, NH 1970 brochure featuring the etching and a copy of a 1968 letter from the artist to the former owner - a then secretary at the Brooklyn Museum. Condition: Good, not examined out of frame. plate: copper 18 x 24 inches (45.7 x 61 cm) paper: Mirillo, Rives Heavyweight Buff catalog number: 52 Possibly the most widely known work of Peter Milton is the print 'Julia Passing,' which exists in two states, the first completed in 1967, the second in 1968. Organized on a one-point perspective construction, the architectural framework sweeps the viewer into a deep and very active space. The downward movement of the stairs forces a dislocation of the horizon. The viewer must shift his position and travel in more than one direction at a time. The coexistence of rows of houses on one level at the upper right and a man on a chair in the area at the lower left, oriented to a different horizon line, produces a tension, perhaps even a feeling of frustration at not being able to establish a logical relationship of all the parts of the scene. Similarly the rhythm created by the figures of the children advancing toward the picture plane and ultimately into the viewer's own space counteracts the physical movement downward and backward with a psychological movement upward and forward. The children seem real, warm and alive, and they engage the viewer emotionally. But only for a moment. For they are passing, as it were, from one state to another, from one period of time to another. The whole configuration, then, takes on the effect of a dream, or of a collection of memories of what once was, and projections of what is to come. Are they the dreams or the memories of that seated aging man at the lower left, longing perhaps for youth, for innocence, and possibly also preoccupied with inevitable death? The work remains largely an enigma. Unlike the earlier 'Clap Hands! Here Comes Charlie,' the title of 'Julia Passing' is generically tied to its content and inextricable from the feeling that permeates it. Julia, the artist's grandmother, died at the time he began to work on the composition, at that point only a vague idea. During the months that followed, as the work progressed, Milton experienced memories of past days, of intangible, non-material things which were gone and could not be recaptured, except in dreams and memories. However, the artist assures us that . . . there are no personal memories consciously put in the print. It is more about the idea of remembering, specifically my grandmother's remembering back ninety years to her own childhood (she died at ninety-seven, clear, vivacious, and thoroughly impatient with the infirmities of age). The print is a sort of metaphor for the mnemonic machinery. And certainly a celebration, not of her passing, of course, but of the ninety-seven year durability of her remarkable warmth. One such artist is Peter Milton, who has been justifiably recognized and acclaimed one of this country's most important masters of the print in the last thirty years. His highly sought-after works, like the early Julia Passing, 1967, Mornings With Judd, 1968, and Daylilies, 1975, have been judged masterpieces of that art form and are among the works that have found their place in the Museum of Modern Art, the Metropolitan Museum of Art, the British Museum, the Tate Gallery, the Bibliotheque Nationale and numerous other public and private collections around the world. Milton's prints are already reproduced in books surveying the history of printmaking and have been the subject of many exhibitions, catalogues, articles and an ambitious catalogue raisonne, published in 1977. Indeed, by 1977 Milton had reached a pinnacle of accomplishment and recognition, with 97 prints produced since 1960, thirty-six one man exhibitions, and a list of 129 public collections that had already acquired his prints. In pencil on drafting film, of images of evocative, dreamlike and sometimes erotic subjects — Jupiter and lo, Stolen Moments, Splash (two versions),Inner City, Friends, Dancing Lesson — several of which would eventually find their way into the Interiors. The Brooklyn Museum exhibition, Peter Milton; Drawing Toward Etching, 1980, revealed a magical, lyrical world of fantasy, dream and overt sexual abandon only hinted at in the earlier prints by the artist. Moreover, it confirmed the dialogue between drawing and printmaking in Milton's image making. 1954 B.F.A. Yale University, New Haven, CT 1961 M.F.A Yale University, New Haven, CT Work In Public Collections Albright-Knox Art Gallery, Buffalo, NY British Museum, London, England Brooklyn Museum, NY Corcoran Gallery of Art, Washington, DC Fine Arts Museums of San Francisco, M.H. de Young Memorial Museum, CA Fogg Art Museum, Harvard University, Cambridge, MA High Museum of Art, Atlanta, GA Hirshhorn Museum and Sculpture Garden, Washington, DC Hood Museum of Art, Dartmouth College, Hanover, NH Harvard University, Cambridge, MA International Museum of Photography at George Eastman House, Rochester Library of Congress, Washington, DC Los Angeles County Museum of Art, CA Metropolitan Museum of Art, NYC Minneapolis Institute of Arts, MN Mint Museum, Charlotte, NC Museo de Arte Moderno, Bogotá, Columbia Museum of American Art, Washington DC Museum of Fine Arts, Boston, MA Museum of Modern Art, NYC National Gallery of Art, Washington DC New Britain Museum of American Art, CT New Jersey State Museum, Trenton New York Times Newark Public Library, NJ Pennsylvania Academy of the Fine Arts, University Park Philadelphia Museum of Art, PA Phillips Collection, Washington, DC Portland Art Museum, OR Princeton Gallery of Fine Art, NJ Rhode Island School of Design Museum of Art, Providence, RI Rutgers University, The Jane Voorhees Zimmerli Art Museum, New Brunswick Seattle Art Museum, WA Skidmore College, Saratoga, NY University of California Los Angeles, Grunewald Center for the Graphic Arts CA University of Massachusetts at Amherst University of Windsor, Ontario, Canada Yale University, New Haven, CT

Creator:
Peter Milton (1930, American)
Creation Year:
1967
Dimensions:
Height: 25 in (63.5 cm)Width: 31 in (78.74 cm)
Movement & Style:
American Realist
Period:
1960-1969
Condition:
size is with frame. actual plate is about 18X24. the frame has minor wear. piece looks great.
Gallery Location:
Surfside, FL
Reference Number:
1stDibs: LU382120030