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(1953 - )

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Peter Reichet was born in Odessa (USSR) – 1953.

Peter Reichet is a fascinating and charismatic artist. In spite of the common perception that the partisanship to one particular style reflects seriousness and quality of work, he is unhesitatingly and vigorously multidimensional. His art palette consists of various genres including portrait, arctic landscape, nude, sculpture, installation, and actionism.

He is a student of Professors Victor Orechinikov and Victor Reichet (his father) at the Russian Academy of Arts (Art Institute named after Repine).

From 1976 to 1987 he is a member of 3 arctic expeditions to Franz Joseph Land, North Land and Bennett Island. Starting in
1976 he participates in over 200 exhibits in Russia, France, Great Britain, Germany, Denmark, Sweden, Estonia, Holland, Japan, the United States, and Canada.
In 1980 Peter Reichet becomes a member of the Russian Artists Union. He has been a member of the Geographic Society of Russia since 1984.

Peter Reichet becomes a member of the International Artist Federation.

Personal Exhibits:
1976: Franz Joseph Land: Exhibit hall at the Beaux Arts Academy – Institute Repine Leningrad, USSR.
1986: Youth Magazine, Moscow USSR
1987: Bennett Island, Russian Artists Union, Leningrad USSR
1988: Bestiary: The Last Whale, Russian Artists Union, Leningrad USSR
1988: Great Exhibit Hall – City of Arkhangelsk, Arkhangelsk USSR
1989: The last whale. Traveling exhibit in a hall the shape of a whale 35 meters long. Aarhus (Denmark), Goteborg, Stockholm (Sweden), Helsinki (Finland), Leningrad, Moscow (USSR)
1990: Exhibitionnism. Architects Union, Moscow USSR
1990: Volvo Corporation Exhibit Hall, Goteborg, Sweden
1991: Gallery 10/10, Saint Petersburg, Russia
1991: Grenen Museum of Modern Art, Skagen, Denmark (catalog)
1992: Garderop. International Exhibition. Central exhibit hall. St. Petersburg, Russia
1993: Bluff. Palitre Gallery, St. Petersburg Russia
1993: International Borcht. International Exhibition. Great Hall of the Artist Union of St. Petersburg, Russia (Catalog)
1995: Paintings and Sculpture. Banegaarden, Aabenraa, Denmark
1996: The last whale. Central Library of Karlsruhe, Germany
1997-1999-2000-2002: Palitre Gallery, St. Petersburg, Russia
1998: Erotic Icons. Korn Gallery, Graasten Denmark
1998: Artist Union of Russia, St. Petersburg, Russia
1999: Iconolatry. Aalborg, Denmark
2001: Venemaa Kultuurfondi, Tallinn, Estonia
2003: Diaghilev Center, St. Petersburg, Russia
2004: Gallery Mailletz. Paris, France
2004: Begin, China
2005: Knud Grothe Charlottenlund Art Gallery. Copenhagen, Denmark.
2005, International Federation of Artists (FIA) St. Petersburg, Russia ( 70 Paintings)
2005, Beniksgaard Gallery. Graasten, Denmark

Public Collections:
Tretyakov Gallery - State Museum. Moscow, Russia
Collection of the Ministry of Culture, Moscow, Russia
St. Petersburg History Museum, St. Petersburg, Russia
Arctic and Antarctic Museum, St. Petersburg, Russia
Collection of the Central Exhibition Hall, St. Petersburg, Russia
Fine Arts Museum, Arkhangelsk, Russia
Arkhangelsk Regional Museum, Arkangelsk Russia
Art Gallery, Vologda, Russia
Novogorod Museum of Art, Novogorod the Great, Russia
Grenen Museum of Modern Art, Grenen, Skagen, Russia
Modern Art in Exile Museum, Jersey City NJ, United States

Private Collections:
Denmark: Collection of the Royal Family, Mads Friis, Per Anders, Helle Dalgaard, Kristian Kaer.
Germany: Kurt Dechler, Eugen Faas, Gunter Gtaubits
Estonia: Victor Smeritchevski
Russia: Nikolai Blagodatov, Dubrovich.

And others in Russia, United States, Japan, France, Great Britain, Italy, Holland, Sweden, Norway, and Finland.

Peter Reichet’s Paradox
The Icon….
… is the incarnation of spirituality, veneration, approaching the divine; they are ancient mystical signs recognized by the initiated.
Eroticism …
… is the beauty of the flesh that troubles the obscure forces of the body. It is that perilous equilibrium on the edge of obscenity.
An erotic icon: That is the paradox of Peter Reichet
Can an artist be so absorbed by eroticism that he expresses it as an icon which he then venerates? It is more likely that Peter Reichet chose this paradoxical combination as an artistic technique, not creating erotic paintings but very unique masterpieces. The Danish art dealer Peter Anderson coined the term “erotic icons” when he first saw Peter’s work. The contrast between the icon technique and the content is what shocks the viewer much to the joy of the artist.
Peter Reichet, whose father was also an artist, grew up in the Russian Academy of Arts (Art Institute named after Repine) St. Petersburg. He was fueled by the principals of classicism that were at the core of all art education in Soviet Russia. But his lively and rebellious nature were constrained in this dogmatic atmosphere and he was seeking new paths in art.
Early on he discovers icons as a window to another world with a view on Byzantine antiquity, centuries of spirituality and Russian culture for those in the know. More importantly, he discovers a new form of expression, composition techniques and colors that were radically different from the realism that was in vogue. Peter Reichet does not become an icon artist, but instead icons become the key to his art.

It is now close to 30 years that he has been cultivating the thematic models from Russian icons. His romantic themes of whale fishermen, pirates of the great north, are slowly built up using the typical narrative methods of icon artists. The main event is at the center of the icon surrounded by secondary events with the same characters in sections that icon artists refer to as “Kleimo”. Reichet also uses the ancient technique to build the support for the icon. One or several boards assembled using a special technique such that they form a concave surface on which a fabric called pavloka is glued. The fabric is then coated with levkass, a mixture of chaulk and sturgeon glue. After 20 to 30 coats of levkass, the surface is polished with a pumice stone to render it smooth enough for painting.
The gilding is created using gold leaf glued on the levkass and flattened with a fish tooth. The creation of the icon’s board is in itself a captivating work of art.
Even though Reichet has improved and simplfied the creation of the boards, he often refers to them as levkass.

The pictorial technique used by P R is characterized by the polyphony of colors and the use of decorative elements. He uses an abundance of gold leafing and vivid colors typical of the traditional icons of Pskov and Novgorod. The artist’s love of the romanticism of the North Sea, maritime adventures and fantastic monsters from the abyss blend with the themes of eroticism. But at the same time, his work evokes the type of phantasmagorical creatures often found in medieval art.
Reichet’s symbolism is complex: There is what the artist wants to express in his erotic icons, what he is really expressing, in addition to what the viewer interprets in spite of him. “Everyone wants to see or represent the nude body”, says the author, “not everyone dares to do it freely. I do.”.
Strangely, in his paintings, the sentiment of freedom and debauchery originates from the ocean creatures, fantastic fish and sea snakes and the nude women are all ugly, awkward and dangerous looking. It is just another paradox that PR leaves up to perspicacity of the spectator to discover.



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