PETER ARVIDSON

45-47 Maple Avenue #3 Cambridge, MA 02139

617.233.1787

peterarv"at"aol.com

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Recent Paintings

Previous Work

News/Exhibits

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Resumé

Kamiyama Artist in Resident Program, Japan

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Etude #1, Oil on Wood Panel, 6" x 6" , 2007, sold

I am a painter living and working in Cambridge, MA. My recent paintings focus on color and its shimmering harmonies. My "color fields" series of paintings began a few years ago and I am continuing to explore color nuances and subtleties.

Burlington Free Press, Thursday, March 31, 2005
Color harmonies: Anyone who has seen a Peter Arvidson canvas knows to expect a work of exquisite bright color and joy. His gorgeously depicted and loosely formed landscapes are reminiscent of Gauguin and have become familiar favorites in the New England art community. Now, in his latest paintings, the Massachusetts artist takes this exploration one step further into more fully abstract works that put less emphasis on form and more on color harmonies.

"It's as though Peter is painting jazz music," said Stephen Doll, director of the Doll-Anstadt Gallery, which opens a new exhibition Saturday. "The concept of representation and composition has been replaced by radiant strings of color and complex syncopations of various hues. It's playful, joyful, fresh and enduring."
- -- Eve Thorsen, Free Press Correspondent

Seven Days, Wednesday, April 13, 2005
LIVING COLOR: The most recently produced paintings in Peter Arvidson's exhibition "Color Fields," at Burlington's Doll-Anstadt Gallery this month, are reminiscent of Georges Seurat's impressionistic pointillism. A key difference is that while Seurat's 19th-century dots added up to figures and forms, Arvidson's are shimmering, nonobjective field paintings. His subject matter is pure, bold color applied in rhythmic dots. On display through April.

Kamiyama, Japan, 2004