[“Housetops, 14th Street,” 1937]
His work displays the kind of familiarity with the city one would expect from an artist who grew up peering around the early 20th century Manhattan of dimly lit bars, shadowy elevated trains, and hidden tenement roofs.
[“Pop’s Tavern.” 1934]
But he was not a New York City native. Born in Wisconsin in 1904, Landeck arrived in Gotham to study architecture at Columbia University and attend summer classes at the Art Students League on West 57th Street.
[“Manhattan Vista,” 1934]
“By the time of his graduation from Columbia in 1927, he had become interested in printmaking and had bought a used press,” states the website for the National Gallery of Art. When he couldn’t find a job as an architect, he turned to printmaking.
Though he lived in Connecticut, he taught in New York and had a studio on 14th Street. Landeck spent much of his career rendering nocturnes of rooftops, stairwells, street corners, and other “secretive places amid the very public place, Manhattan,” as the New York Times put it in a 1998 article.
[“Manhattan Nocturne,” 1938]
“Like Hopper, Landeck uses the human figure sparely; he was more interested in the surroundings, and his ambience of choice obviously was urban,” stated the Times.
[“Approaching Storm,” 1937]
In a 1980 Times article, Landeck addressed the fact that often the only person in one of his prints is the viewer. “That there are no people is intentional on my part, because I look at New York in terms of theater very often,” he said.
Landeck’s work became more abstract as the 20th century continued, but no less accomplished. Still, his prints from the 1930s and 1940s might best exemplify his style. Armin was “ever the master of twilight, of shadow, and mystery,” as one 2003 book title described him.