Peter Winslow Milton (1930) is a major force in the printmaking world. He was born in Lower Merion, PA. He studied under Josef Albers at Yale University, where he graduated with an MFA in 1961. Milton began his artistic life as a painter, but by the mid 1960s his color blindness suggested that giving up paint and color for texture might prove a happier course. He has taught at Yale and the Maryland Institute of Art, served as visiting artist at Dartmouth, Columbia, Yale, and the Rhode Island School of Design, as well as many other schools, and has been honored by awards at international exhibitions including Cali, Seoul, Lvov and Cracow.
Milton has created works on images for two novellas by Henry James: the livre d’artiste of etchings for “The Jolly Corner” (1971) and the facsimiles of drawings for “The Aspern Papers” (1993). Using etching and engraving techniques, Milton developed a concern less for the surface appearance of objects, but rather for the explication of their underlying, substantive qualities. Milton conveys meaning through a contextual environment of people, places, and moments in time. A creator of black and white etchings and engravings that often display an extraordinary degree of photo-realistic detail placed in the service of a truly visionary aesthetic, Milton’s work includes themes of architecture, history, myth, and memory, as well as their intersections and hidden juxtapositions.
His work has been exhibited in most major museums in the United States and Europe, including the Metropolitan Museum of Art and the Museum of Modern Art, New York, the British Museum and the Tate Gallery, London, and the Bibliothèque Nationale, Paris. Two book collections of his work have been published: “The Primacy of Touch: The Drawings of Peter Milton” (New York: Hudson Hills Press, 1993) and “Peter Milton: Complete Prints” 1960-1996 (San Francisco: Chronicle Books, 1996). Peter Milton resides in California. The Academy Art Museum has six prints by Peter Milton in the Permanent Collection. The exhibition was made possible with support from Jane Haslem in Washington, DC and The Old Print Shop in New York.