1905 - 1984
Landeck attended elementary school in Oshkosh, Wisconsin; high school in Toledo, Ohio; and college at the University of Michigan where in graduated in 1925. He then went to New York where he took George Bridgeman's life drawing class at the Art Students League (1925), and then studied architecture at Columbia University, graduating in 1927.
That same year, he purchased a second-hand press and made his first print. In 1928, he married Beatrice Boerum of Brooklyn, a fellow architecture student at Columbia, and the two set off for Europe on their honeymoon. While abroad (1928-29) Landeck did some thirty etchings and drypoints of European subjects which included character studies, scenic views, and architecture. In Nurnberg (ABG:does she mean Nurenburg?) he worked and studied printing at the Kunst Gewerbe Schule with Herr Kramer; he also worked in Rome and in Paris where came under the influence of the cubists. He also traveled in Turkey, the Netherlands, and Greece.
On hearing of the crash of the stock market in 1929, he returned to New York but was unable to find work as an architect. He purchased a home in East Cornwell, Connecticut, where he established his family; but he made frequent trips to New York to work with the lithographer George C. Miller. The two, along with Martin Lewis, opened the short lived School for Printmakers at Miller's studio on 14th Street (1934-35). In 1941 Landeck studied with Stanley William Hayter at the New School for Social Research, and in 1942 took a studio on 14th Street which he maintained until his retirement. He served on the faculty of the Brearley School for many years.
In 1948 Landeck was divorced; he remarried to the painter Amy Fownes Barnes. In 1953 he won a Guggenheim Fellowship which allowed him to go to Paris. Once returned from Europe, Landeck specialized in architectural views, mostly of New York, which rarely included the human figure. He did some portraits and studio interiors, but was not interested in integrating the figure into his landscape. Often he treated construction sites, roof tops, and night views. He was essentially a depictor of the American scene influenced to some degree by Edward Hopper. Perhaps the thing they held most in common was a certain lonely moodiness in their work. Landeck worked in drypoint and lithography in the 1930s and 40s, and, later, under the influence of Hayter, in copper engraving; for a time he combined drypoint and copper engraving, but in the 1950s he used copper engraving alone to treat his abstract and cubist interpretations.
Landeck's work was handled by Kennedy Galleries. He was nominated to the NAD by J. Taylor Arms. For his NAD diploma presentation he submitted the drypoint Housetops 14th Street.
That same year, he purchased a second-hand press and made his first print. In 1928, he married Beatrice Boerum of Brooklyn, a fellow architecture student at Columbia, and the two set off for Europe on their honeymoon. While abroad (1928-29) Landeck did some thirty etchings and drypoints of European subjects which included character studies, scenic views, and architecture. In Nurnberg (ABG:does she mean Nurenburg?) he worked and studied printing at the Kunst Gewerbe Schule with Herr Kramer; he also worked in Rome and in Paris where came under the influence of the cubists. He also traveled in Turkey, the Netherlands, and Greece.
On hearing of the crash of the stock market in 1929, he returned to New York but was unable to find work as an architect. He purchased a home in East Cornwell, Connecticut, where he established his family; but he made frequent trips to New York to work with the lithographer George C. Miller. The two, along with Martin Lewis, opened the short lived School for Printmakers at Miller's studio on 14th Street (1934-35). In 1941 Landeck studied with Stanley William Hayter at the New School for Social Research, and in 1942 took a studio on 14th Street which he maintained until his retirement. He served on the faculty of the Brearley School for many years.
In 1948 Landeck was divorced; he remarried to the painter Amy Fownes Barnes. In 1953 he won a Guggenheim Fellowship which allowed him to go to Paris. Once returned from Europe, Landeck specialized in architectural views, mostly of New York, which rarely included the human figure. He did some portraits and studio interiors, but was not interested in integrating the figure into his landscape. Often he treated construction sites, roof tops, and night views. He was essentially a depictor of the American scene influenced to some degree by Edward Hopper. Perhaps the thing they held most in common was a certain lonely moodiness in their work. Landeck worked in drypoint and lithography in the 1930s and 40s, and, later, under the influence of Hayter, in copper engraving; for a time he combined drypoint and copper engraving, but in the 1950s he used copper engraving alone to treat his abstract and cubist interpretations.
Landeck's work was handled by Kennedy Galleries. He was nominated to the NAD by J. Taylor Arms. For his NAD diploma presentation he submitted the drypoint Housetops 14th Street.
