Born: 1933. Nationality: British.
Peter Green studied at Brighton College of Art and at the Institute of Education, University of London.
He taught in a secondary school in London for several years at the same time he pursued his own work as a print maker, being elected a member of the Royal Society of Painter-Printmakers in 1958. Early in his career Green specialised in large-scale lino-prints, often of the Welsh landscape, showing the influence of artists such as John Craxton, and Graham Sutherland. Landscape has remained a frequent inspiration for the dramatic abstract prints which characterise his subsequent work.
Teaching has been an important element in Green's practice, he became Head of the post graduate course for art teachers at Hornsey College of Art in 1967. During the 70s and 80s he was appointed to the Crafts Council of Great Britain and chaired the Council’s Education Committee for six years. In 1978 he was appointed Dean of the Faculty of Art and Design at Middlesex Polytechnic (subsequently Middlesex University) and was appointed Professor of Art and Design in 1983 (Emeritus Professor since 1991). In 1988 he was awarded the OBE in recognition of his contribution to British printmaking and art education.
His work is held in many public collections including the Arts Council, The Victoria and Albert Museum; Walker Art Gallery, Liverpool; Towner Art Gallery, Eastbourne; Cecil Higgins Museum, Laing Art Gallery, Newcastle 0n Tyne; South London Art Gallery; Birmingham City Art Gallery; University of Wales, Cardiff; Bedford; National Gallery Kuala Lumpur, Museums of Detroit, Seattle and Pittsburg, as well as numerous private collections.
In 2016 a solo exhibition of work ranging over fifty years was held at the Scottish Gallery in Edinburgh which coincided with the publication of a biography of Green: ‘The Workmanship of Uncertainty’ by Nathaniel Hepburn, published by the specialist gallery St Jude’s Prints. In the same year he was included in the ‘Editions and Objects’ exhibition at the Yorkshire Sculpture Park.
While lino-cut prints are still part of his output Green generally favours the technique of wood block printing - by hand rather than using a press: once the paper is laid onto the prepared plywood blocks he prefers to control variations in pressure during the process of creating his images; he also applies additional shapes and colour to the initial printed image using paper stencils.
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