by Armand Petersen

Renée Paris, styling for Hernandez, research by Sandoz.
Two trends in animal art: tradition, coming from Barye and another which "proceeds by allusion and strives to highlight the essential features and to render the character of the animal...(Artistic Figaro 6/12 1928 G.Paturelle).
In fact, the Animaliers did not side with cubism or abstracts, their art was oriented by the strict observation of nature and the traditional craft, to arrive at a new simplified, suggestive realism retracing the species and the character of an animal evolving in a more or less natural environment, in its daily life, with a smooth form in the light.
The repertoire was multiple, however the group study of the same models gives a homogeneity to the style of the Animaliers influenced by Pompon and even to those who were unaware of it, like Hernandez, hard stone cutter, direct size without modelling, leading it to a shiny polished surface, close to the representations of Antiquity, Assyria and Egypt very often evoked.

Personal exhibition in Brussels at the Palais des Beaux-Arts. This exhibition, due to Sabine Petersen, Belgian, will play a decisive role in the beginning of the career of the young Franco-Swiss animal keeper while giving him a certain independence in the group of animal keeper. The press will talk about it every day, will command attention both in Switzerland and in France where he has settled. We discover the grace and sensitivity, the careful execution of the lost wax bronzes, their warm patinas. The Grazing Antelope (No. 6), the round-backed Gazelle. (n°7), the group of Ducks (n°l6) - remarkable bronzes, the Bison (N°12 in sandstone.
The elegance of the models, the choice of these types of animals, their decorative sense is underlined, the nervousness and the living form of the forms.
The models "in their aspect of precious trinkets have grandeur".

The Hippopotamus exhibited in "agglomerate", fine sandstone from Sèvres, prelude to the agreements between the Manufacture whose director, Le Chevallier-Chevignard, noticed Petersen's animals at the Brandt gallery Wishing to renew its models, the Manufacture seeks works in contemporary art to adapt them to its recent material, soft colored sandstone giving a completely different rendering than biscuit, white and shiny earthenware.

In 1928, Petersen deposited three plaster casts at the Manufacture. Bronze and ceramic editions were made and exhibited at the same time, but they differed in size, often due to the removal of the terraces, so that he can affirm in good faith "that no reproduction of the work has never been published" and it is true that some models have been adapted to ceramics.

The financial aspect, the distribution of the works by the Manufacture, its exhibitions and its sales outlets, presented the advantage of being able to exhibit a similar work in different materials in several places, to show its various aspects by reserving a place for bronze in part, because more expensive, and more precious by its patina and its carving requiring personal work for each test.
Committing to Sèvres meant committing to the movement of decorative art and following the example of his friend Edouard-Marcel Sandoz who, since 1921, edited in Sèvres and porcelain in Paris, at Havilland.
At the 19th Salon de l'Eclectic, he exhibited with the decorators Jules Leieu and Edgard Brandt, a great unifier and promoter of animal art without "ism".

To confirm the place occupied by Petersen in animal art and to account for this recently discovered talent, AH Martinie writes an article in Art and Decoration on his work and the conception of his craft as a goldsmith sculptor by his training and his first choice, his evolution.
The comparison with Pompon is necessary but its independence and its originality differ by its expression of impression of insecurity by its animals always on the alert. Unlike those of Pompon "which are naturally beasts of God, without fear perhaps because without malice and without sin" This peculiarity of subtle expression translated by formats of a living plastic makes Petersen an animal talented, who knows how to communicate a personal accent to everyday language".

In 1929, two years after his "discovery", Petersen was one of the best animalists. He is cited after Pompon and as his emulator His large Stone Bear enters Luxembourg, the supreme consecration of an innovative artist known to be aged by his ...

... first models, after obscure research for twenty years, became head of the young school. After Sandoz, an artist apart, complete by the diversity of his work, the importance of his workshop and his financial power placed at the service of animal art.
After Mateo Hernandez, champion of direct carving, proud representative of the nobility and supremacy of his profession, capable of tackling the hardest stones for his animals and busts.

To measure himself against the greats, Petersen will turn to the natural size which, without being monumental, reflects the truth. It shows its ability by moving away from the showcase object.

His masterpiece, the Calf (No. 92) translated into Pierre à Baie, exhibited in Paris in molded plaster above will be very noticed both by its format and the feeling that emanated from it more than the biblical symbolism of the calf of But, meaningful.
The Ducks: Beak in the neck (n°19), full of tenderness and the Duck (n°20) studied natural size will contradict the small models of before.

Witnesses to the love and happiness of living in a very refined form, without any concession to detail, overall volume surrounded by a flawless contour line, soft and all in roundness, in a simplification that will never be exceeded.
We will see him in a last work, the Domestic Goose 1966 (n° 57ter), the Anon (n°1) prelude to a series which will occupy him until the 1940s, portraying his triumphant youth and his stubborn character, representation and specialty of the sculptor of the vision of childhood full of promise.

He signs contracts with the Manufacture de Sèvres in June for his Biche lying revised for the production in biscuit: through two models (No. 1 and No. 2)
In several sizes only for ceramics, in a dry treatment.
The Hippopotamus (n° 49) and the Bison (n° 11) will be produced without a base, unlike the bronzes.
Cock (n°33), Goose (n°57), farm animals, domestic animals will be studied at the same time as the residents of the Jardin des Plantes, chosen among the Antelopes for the beauty of their horns: Guib (n°8 ) in motion, Cobé (n°9) will renew the repertoire, and will increase it, the exhibitions multiplying.
The Reclining Biche (n°3) will be enlarged: translated into bronze, it will represent the era of the beauty of the Siot fonts.

The year 1929 will be marked by a series of exhibitions:

In January the Group of Onze-Galerie Simonson where Petersen exhibits as a guest with Anna Bass. The group is made up of painters such as Desvallieres, Gervez, Jojoubert, Laprade, Léon Lang, Deshays, Paul Vera...
Chantecler explains the participation of the guest animalist as a sculptor of great talent "... The rare thing in the group of Eleven who lacks connection comes from its sculptors; living and accurate figurines of Anna Bass and above all the pure decorative animals of Petersen, this one knows how to lead a line throughout its most complete purity..."

French Art in Belgium at the Palais des Beaux-Arts Brussels from April 15 to June 15 "Panorama from Impressionism to the present day" - Anon and Veau will be exhibited.

Salon d'Automne from November 3 to December 18 Calf, plaster taken on stone (n°92) - The Calf was placed in the SolitudPark in Basel. Nice calf, "well seen" according to Luc Benoist who, in the Crapouillot speaks of Chinese simplification. As for Pawloski, in Le Journal "de Petersen, a very amusing large rubber Calf"

The third exhibition of the "Animal Artists" Galerie Brandt from November 16 to December 15, 1930 Antilope Cobé (n°9, Anon (n°1), Calf (n°92), Goose sketch (n° 57), Duck beak in the neck (no.19)

But it is the Salon de l'Evocation dit de l'Escalier at the Comédie des Champs-Elysées in November and December which will have the greatest impact in the press, rave reviews with: Calf, Hippopotamus, Anon, Coq des Indes.

Le Veau is more touching than beautiful according to the critics. In l'Action française, Brecy places Petersen "as a follower of Pompon who only signs masterpieces..." points out "his solid profession and his tender humor..." "The Fearful Antilope is a little chef - of work chiselled with so much tenderness that the whole life of this little beast is shown to be touching and true" (la Semaine à Paris).

As we can see, it is the "feeling" that prevails and simplicity. The Petersens move to 30 rue de Berne (VIIème).

The sculptor moves away from Montparnasse, but he likes to go to the Jardin des Plantes to keep in touch more than to study new models.
It is on the right bank that he exhibits.

In February 1930, the Brandt gallery joined the animal painters to the busts of sculptors from the French school claiming to belong to tradition (Bourdelle, Wlerick, Drivier, Landowski, Jean Boucher, Sapiens) In June and July, at the XXth Salon des ...

... Decorative Artists, the Anon (n°1) in bronze is delicious, according to Luc Benoist (Le Crapouillot) - workshop work. Other bronzes will be noticed in sets. Petersen represents French art but is cited with Swiss artists such as Pierre Blanc, alongside Charles Artus, future member of the group of the Twelve Animaliers French.

At the Salon des Tuileries, the Anon will again be exhibited and described this time as humorous, well observed, amusing and even "a prehistoric animal curiously set in bronze" by Pierre Bearn in Paris Presse.
With the Animaliers, at the international exhibition in Liège, in June, as well as at the IIIrd Salon des Surindépendants in October, Petersen is still cited among the best, but without precision. He often exhibits the same models.
We find him at the III Animaliers exhibition at the Brandt gallery from November 25 to December 25, 1930 with: Goat of Syria (n ° 12), Goose of Magellan (n ° 58), Tiger (n ° 88), Anon (n ° 1), Young Antelope (n° 8 or 9), Calf (n° 92).
Exhibition twinned with that of the Journal gallery which takes over. All the press is mobilized.

The "Animaliers", inaugurated by Paul Léon, member of the Institute and Director General of Fine Arts, attracted an elegant crowd and the clientele of decorators attached to the gallery.
Georges Turpin in "Les Services Publics" considers Armand Petersen a bit archaic" while in the group around Pompon and Sandoz, he is considered "the top of the basket". He will participate with the animal keepers in the exhibition at the Zoo de Berlin.
His editions in dark sandstone and in Sèvres appear in the events of the Manufacture and at the Brandt gallery in the exhibition "Ceramics and Glassware" (Lalique).

At the end of December from January 26 to 2, 1931, in preview of the Colonial Exhibition, the Office Privé des Colonies brought together Camille Roche and Petersen, friends.
One, painter, the other sculptor exhibited at the Brandt gallery, the Biches and the Rhinoceros will be noticed Several models presented in the year will be reworked later: The Antelope in 1937, the Anon, enlarged, the Tiger in 1936, the Hippopotamus edited in crackle (4 copies), the Rhinoceros enlarged in 1936.

The article written by Yvon Lapaquellerie in "L'Amour de l'Art" (July 1930) remains a precious document for the knowledge of this period and the life of Petersen, his beginnings, his works. "Armand Petersen, animal sculptor" is presented as a goldsmith sculptor, explaining his taste for finesse and precision... "because he works his material as preciously as gold". With examples and photos (some models will be reworked later), he specifies the sobriety of the style which does not exclude anatomical realism and the monumental construction of the models, their psychology.

He notes the insecurity of animals seen at rest but whose anxiety is perceptible in wild animals, contrasting with the tranquility of domestic animals. Childhood, the early youth of the Elephant, the Calf, the Anon and above all his technique: "Petersen's material is of Japanese finesse, but you can guess the hardness of the metal under the softness of the patina, like the muscle under the coat. His work as a goldsmith accustomed the artist to neglecting nothing in his work: his statuettes are as precise as the effigies of golden animals presented to their gods by the faithful of the Eastern cults.

There is something religious about Petersen's art... like prehistoric art... and it is this spirituality that permeates his work that gives it such a rare cachet and allows it to stand out from the productions of other animal artists. ".

This excellent analysis shows the state of mind of the sculptor through the models chosen in function, the Golden Calf in particular whose symbol had not been perceived As he progresses in his work, Petersen will affirm his taste for the precious side at the same time as belonging to an idol venerated, preferably by the Egyptians.

The works cited and reproduced, precious testimonies of the time, bring together almost all of Petersen's repertoire, revealing models executed previously such as the Raven for a fountain in the town of Bay, and others whose plasters have not remained. in the studio in 1969 (Indian Rooster - Foal).

Integrated into the group of animalists, recognized by the critics, the sculptor will be part of the panorama of animal art appearing at the instigation of Armand Dayot (president of the Society of Animal Artists) to Moreau editions: Animals seen by the best Animaliers are for many the opportunity to show their tendencies in the five luxury albums classifying animaliers:

Volume 1 - decorative animals. Petersen appears there with the reproductions of the Young Antelope Cob, the Gazelle with the round back, for the quadrupeds. Birds: the Cock of the Indies, the Duck beak in the neck, the group of Ducks.

Volume II - animals from nature. The Raven, the Goose and the Rooster plaster sketches.

Painters and sculptors appear in the five volumes representing the realist and traditional current, the variety of techniques ranging from direct carving to modelling, drawing and painting of wildlife seen in nature. No cubists or others.

Most of these artists exhibited at the annual Salon de la Société des Artistes Animaliers, either as members or as guests.
It was precisely intended to bring together animalists of all tendencies, Petersen, Swiss ne ...

... could not participate and never exhibited there.

This venerable Society founded in 1913 by Armand Dayot still in place, chaired by Georges Gardet, member of the Institute whose works enthroned in the Luxembourg Museum contrasted with the modernity of those of Pompon, illustrating the old way. imposing, had substituted for the old detailed vision of the animal, outdated naturalism, a conception of simplified form, a suggestive side of natural reality, in short, a new aspect of realism tinged with symbolism and truth.

Following the resignation of his office, the Society was dissolved after its annual salon from March 2 to 14, at the Georges Petit gallery.
On March 26, 1931, the group of "Douze Animaliers Français" filed its statutes, Presidents Pompon and Paul Jouve, secretaries Charles Artus and Jean-Claude de Saint Marceaux, grandson of René, sculptor, patron of Pompon, his practitioner who had become an animal full share.
This group, made up of emulators of the already elderly Pompon, represented the "new" trend, younger, restricted to French nationality, just as much focused on the tradition of the profession and the vision of reality.

Petersen was invited there because he remained very attached to the Jardin des Plantes group and admired Pompon.
With his wife he goes to his studio, on Saturday, his day, Pompon dedicates Robert Rey's book to him published in 1928.

As a Swiss and a friend of Sandoz, he became close to the Swiss Protestant artists grouped under the name of Modern Protestant Artists in Paris and contributed until 1969 to the Association of Swiss Painters and Sculptors. At the exhibition of Modern Protestant Artists in Paris, from February 20 to March 8, 1931, he found François-Louis Schmiedjean Dunand, Marcel Gimond, Jacques Emile Ruhimann, Gérard Sandoz (homonym), a whole series of painters, sculptors, architects (Le Corbusier) decorators.

The Indian Runner (n°21) confused with that of Artus as it is close to it is one of the very successful small-scale works. The Simonson gallery (group of Eleven) again invites Petersen to its exhibition in February 1931, of the type of that of the Brandt gallery with drawings, paintings, sculptures and applied art.
The most anticipated event, the Colonial Exhibition, took place in Vincennes from May to November with the creation of a zoo that Petersen would frequent (there was even a dressing room) as well as the animal keepers and Pompon. Sculptures and frescoes demonstrations of the richness of techniques such as lacquer mosaic or animal art, has its place.

The Palace of Fine Arts wanted to exhibit colonial art, by creating its Salon with the Society of Decorative Artists. The Salon des Décorateurs was in the entrance hall designed by the architect Halley, where Pompon's life-size Hippopotamus stood out in plaster, vainly hoping for an order in a noble and durable material.

The "decorative art section" sculpture was in the right wing where Petersen exhibited alongside Georges Guyot.
In the middle of the pavilions stands the Danish flag since it ceded its possessions in the West Indies, Denmark has only one colony left and paradoxically it is a boreal colony: the large island of Greenland, four times larger than France..." Inside, in addition to the collections, the documentation on the life of Greenland, the products of the colony, visitors could admire "four slide shows ten meters deep representing "summer landscapes, winter, the east coast, and Thule, from where the explorer Knud Rasmussen left. Petersen had participated in these dioramas, the Arctic fauna was present there with the productions of Denmark including the porcelains of Copenhagen edited by Bing and Groendàhl the sea lion (n° 59), the Penguin (n°76), the Fish (78) three of the models published in Copenhagen, in porcelain.

At the Tuileries Salon in July, Petersen is quoted alongside Pompon, exhibits a Bison and a Panther (pi.)
The 5th exhibition of Animal Artists from November 18 to December 18, 1931 at the Brandt gallery will now be the annual animal exhibition brought together by Edouard-Marcel Sandoz, with thirty-eight exhibitors including Pompon and his group and of course the Swiss, including Pierre Blanc.
"The sobriety of Petersen touches on great art": Tiger (br. n° 88), Goat of Syria (br No. 12, Bison (Sèvres sandstone No. 11). This Bouc was published at an undetermined date by Rob.
In October, the Manufacture de Sèvres asking for new models, he studies the Parakeets and a Fish which he proposes to submit to the commission later.

Although claiming to be Pompon, exhibiting with Sandoz, Petersen of Swiss nationality, cannot be part of the group of 'Twelve' except as a guest, but is it for this reason that he proclaims his independence and opens his own school in a workshop at 235, rue du Faubourg Saint Honoré?

In 1932, the economic crisis affects artists who often exhibit their works in plaster. The ceramic editions will provide income for a good number of artists, like Petersen who will multiply them both in Sèvres and in Copenhagen through new contracts.

The editions will make it possible to exhibit bronzes and ceramics rather than plasters.
This is why, from March 6, 1932, Petersen proposed seven models to the Manufacture de Sèvres to submit them to the examination of the advisory board... "in my opinion, ten pieces would give a more complete idea of my craftsmanship. ...": Elephant - Tiger - Horizontal Fish - Anon - Parakeets (2) are offered urging to collaborate in the choice of material and to have a piece of each subject, suggesting presentations with and without a base.
He will ask for the casts corresponding to the models... "I am used to having my casts in duplicate because they are returned to me in very bad condition after casting"
Indeed, the patinated plasters left in the workshop in 1969 have been carefully repaired, and perhaps, on occasion, reworked.
The pieces performed will be transferred "on loan".

Five proposed models will be selected. On June 1, 1932, the contracts will be signed for:

1) Small-tailed parakeet for biscuit, cracked and sometimes colored porcelain (no. 68): from 1933 to 1939 142 copies, in principle in biscuit; in 1935 53; in 1938 62. Resumption in 1968 until 1983 (?) 20 copies, the prices having varied from 60.42 to 660 Fr!

2) Parakeet with large horizontal tail on column (n°69), often sold in pairs, only in biscuit: from 1933 to 1939 with 108 editions; in 1935 43; in 1938 23.

3) L'Anon for biscuits and stoneware from 1932 to 1938 44 including 13 in fine stoneware; resumed in 1968 with 2 copies; in 1986 14 post-mortem editions at the rate of one per year; 56 editions of all subjects.

4) Young African Elephant for biscuit and stoneware: From 1932 to 1935 5 editions The contract was denounced before the 5 years.

5) Translucent porcelain fish with crystallized base and colored porcelain Petersen specifies "bronze edition by myself": from 1933 to 1935 19 editions. The contract was not renewed.

His commitment to the Manufacture will allow him to exhibit at the end of the year at the IVth Exhibition of Art and State Establishments at the Maison de France, especially the sandstones and in Brussels at the Palais des Beaux-Arts.

Also for ceramics, the editions of the Manufacture Nationale Bing and Grondàhl in Copenhagen will be exhibited at the Salon d'Automne and sold by Rouard in its store. "A la Paix" Avenue de l'Opéra: 13 models in matte white porcelain, adapted to models previously published, either in bronze or in Sèvres.
Sea Lion, Doe lying head down, Elephant trunk in the air, Hippopotamus, Frog, Caiman, Goose, Fish holding by their fins. All editions will be baseless.
These editions in this new material will be the subject of two articles, one by Bernard Champigneulle in Art et Décoration (1933 with Shall photos, and by Raymond Cognât in Mobilier et Décoration, with an analysis of the works and their characteristics, the synthesis of movement and form in stillness.
The exclusive Copenhagen editions will bear the mark of the Manufacture and a Petersen AP monogram. Some editions made and sold by Rouard, exclusively bear a stamp and a number, but it is not porcelain rather terracotta (monkey's head n ° 82) and sandstone.

These will be bronzes which will appear at the 1st Exhibition of the Group of Twelve French Animals, Ruhimann gallery from April 8 to May 7, 1932 and at the important exhibition of Animal Art through the ages, at the Sambon gallery, organized in collaboration with 'Edga Brandtl).

In November 1932, the great "Panorama de la cave d'Altammir à François Pompon" brings together contemporary artists of realistic appearance under idealistic orders". Each will be judged according to their characteristics: realistic, idealistic, stylistic, decorative expressive in various materials in painting, sculpture, drawing Wood, bronze, wrought iron, earthenware, engraving, modeling and direct carving.

The catalog prefaced by Arthur Sambon will fly over animal art from prehistory to 1932 and each artist will be entitled to a commentary on the works exhibited. Thus for Petersen: Duck, Doe, Calf-(br) "synthesis-caress of the general, logical form" of the gestures".

In the "New Literature" Paul Fieren remarks "It seems that our artists are returning to Egyptian idealism, established by plan and cube. On the rational synthetic framework, the curves will be grafted, the surfaces will soften, the light will caress the polished curves", the animals are seen for themselves, from the suppleness of Sandoz to the peaceful vigor of Hilbert, the captivating stylization of Pompon, the sumptuousness of Saint-Marceaux, the accentuated planes of Petersen.
This precision must be underlined, because indeed Petersen, even rounding his forms always detaches the limbs and the planes inside the lines containing the profiles without creating shadow areas, but to emphasize the tension of the musculature. and the nervousness of the form.

Some will be indignant at his reference to Pompon and will declare that he opposes it with this method. With metal and through the Brandt gallery, Petersen will participate in the exhibition of "Metals in Art" at Galliera in September 1932 retracing the importance of metals in art, wrought iron and others.
Gabriel Lacroix has a Tiger in hammered copper sheets. founders such as Hébrard, and Susse who, in 1932, held a large gallery on Boulevard de la Madeleine after having had stores, Passage des Panoramas where works by the best modern sculptors are offered, such as Petersen who melted at Susse in 1931, the Rabbit and the Panther licking each other.

At the Vlth exhibition of Animaliers, Brandt gallery from November 1 to December 18, 1932, Petersen exhibited the various facets of his profession by mixing bronze and ceramic: Antilope Guib (br), Merle (pi.), Poisson (Sèvres), Perruche ( Sevres)

In 1933, Petersen will be able to devote himself again to the study of models for bronze with the Squirrel (disappeared), the Fox-Terrier (not located) very fashionable dog, the Lion and the Lioness, excellent pieces and personal though...

... steeped in the principles of Pompon. The exhibitions will follow one another without interruption, but thanks to the editions of Sèvres and Copenhagen there will be enough pieces and if the bronze does not appear in first place, the well-presented plaster anticipates it.

To cope with the economic recession, decorative art wants to be inventive and seeks to distribute in the provinces, an untapped market since the major events always took place in Paris apart from some decentralization efforts in Lyon, the Salon du Sud Est in Saint- Stephen From where the idea of the Decorators to propose to the province what they sold in the living rooms and the galleries by trains exhibitions stopping in the big cities so that there is no more delay in the diffusion of the production of works of art and furniture.

The Sèvres exhibitions will be itinerant, as the Manufacture takes part in fairs, in particular that of Utrecht, with the support of the Association Française d'Expansion et d'Echanges Artistiques. In the Hague, in Brussels, Sèvres exhibits the editions of its modern artists and shows its research in the field of ceramics with high-fire sandstone, known as soft sandstone, a newly developed material appreciated for its warm and diverse tones. .

At the beginning of the year from March 1 to 31, 1933, the 2nd exhibition of the "Groupe des Douze Animaliers Français" took place at the Ruhimann Gallery, where Petersen, Swiss, was invited with his friend Auguste Trémont, from Luxembourg. But he stands out by his originality with his Anon and his Squirrel which could not be confused with that of Artus because "his personality is more nervous and more marked".

The soul of the group, Pompon died on May 6. Belatedly formed for five years, the group will quickly dissolve. Thanks to Sandoz, which bought the Brandt gallery with the Meyer bank, the animalists continued to meet annually until 1939. Edgar Brandt suppressed the gallery which had served so much for the cause of the animalists linked to art deco.
He devoted his factories to architecture and armaments.

Artists stick together The Swiss of the Society of Swiss Artists in Paris exhibited at Bernheim Jeune from March 18 to April 7, 1933. For Petersen three bronze models: Panther, Duck, Anon representative without novelty. Newspapers that have galleries like the "Journal" make their contribution to decorative art to meet the needs of artists.

The "Journal" art gallery from May 1 to 31 takes up Brandt's style by exhibiting ceramics, pewter, lighting, furniture, painters and sculptors from the Group of Twelve and its friends.
The Inspector of Fine Arts comes to encourage and compliment, Jouve (president of the Group) Artus, (secretary) Margat (treasurer) Chopard, Petersen and Trémont etc... Indeed, there is a real desire for support and promotion using the decorative and applied arts.

Jean Cassou, in Art and Decoration, is the spokesperson for the effort of Sèvres which wants to involve the public authorities in the renewal of decorative art "by which our time tries through how many difficulties and compromises to constitute a style. He insists "At Sèvres, the artists are modern but they benefit from an ancient knowledge and a proven technique.

"The famous" animal Petersen will be much watched in the exhibitions of Sèvres. The Galerie du Cygne in June and July will open the series which will continue in The Hague, then in Brussels where Petersen is not unknown, while in Paris, the Maison de France will take over permanently.

The Mutuelle des Arts d'Arcadie brought together thirty painters and sculptors from April 1 to 23, 1933. We notice Adrienne Jouclard (of the Twelve) painter, Pierre Blanc, Jean Martel, Armand Petersen. In April, Christofle organizes an exhibition of Danish Art at the Hanover Pavilion, with pieces produced by the Manufacture of Copenhagen Bing and Grondàhl, in sandstone, matt cracked white and celadon porcelain, decorated and enamelled porcelain. Petersen exhibits part of the edited models "first series of a series" with sculptures by Gauguin

The event of the year is the twinning of the Salon de la Société Nationale with that of the Beaux-Arts, where animal artists and decorators meet: Merle (pi n°56), Anon (pl.2nd state n°1) with d' other models in the window are exhibited there. A section reserved for the art of gardens due to the initiative of the Nationale welcomed .... "many animal keepers and a large population of big cats, pachyderms, birds, waders... grouped together in the Antin rotunda.. .the animals here are called Louis de Monnard, Jacques Froment-Meurice, Jouve, Petersen, Vallete, Lémar, Jeanne Piffard..."
Petersen, always quoted in the peloton of animalists.

The real meeting is the annual exhibition at the Galerie d'Art Malesherbes (ex, Brandt) from 17/1 to 17/12 1933 inaugurated by Minister Anatole de Monzie guided by Sandoz, the patron and now the unifier of animal artists from traditional and realistic tendency without discrimination, Swiss and others.
This exhibition fair will no longer be in competition and will take up the spirit of animal art in the service of decorative art by mixing with the creations of decorators attached to the Brandt gallery. Sandoz's Scoth-Terrier was neighbored with Petersen's wire-haired Fox, both competing in truth. The Fox (No. 28) "amusing synthesis" (Guy Monnereau-Echo de Paris) "modern" dog, in any case fashionable and The Lion (No. 52) hold the attention, without any rivalry.
Within the Animaliers reigned a spirit of camaraderie where everyone could keep their personality, Pompon having instilled this principle in them with the advice not to copy it.

Petersen survived in this period of crisis thanks in large part to his ceramic editions and the activity of his journalist wife. But it melts little and many models remain in plaster. The Lion was not melted. At Sèvres, with nine models, four in 1929 with a five-year contract and five in 1932, but there was an absence of editions, a scarcity in 1933.

In Copenhagen, Bing and Grondàhl, 13 models, all published in 1933, exhibited and promoted to a series which was not verified by Georges Rouard, without great precision.

A Goat from Syria, presented to the Animaliers 1930 in bronze, is found in Robj earthenware, without signature. And during the years of financial difficulties, Petersen went to factories with concessions, but these parts carry a model and edition number.
The ceramic editions will be a recourse for many animalists among those of the group: Pierre Blanc (Sèvres) Maurice Prost, Renée Vautier, Willy Wuillemer, Anne-Marie Profillet and Sandoz who could have made a living from it.

In 1934, the Petersen moved to 189 rue Ordener, 18th century - city of artists - the workshop will be independent of the apartment. Sabine Petersen, music lover, excellent pianist, brings her piano and plays together with a conductor who ...

... lives below. It's a happy time.

Thereafter Petersen will rent a studio-housing, rue Ordener, in the same city, smaller, after the departure of his mother-in-law. Pompon at the Museum, which agrees to make up for the lack of space in the Luxembourg Museum, where the stone White Bear sits enthroned and several models purchased or deposited during the artist's lifetime. This, for the strict deadline (10 years) before entering the Louvre.

Minister Anatole de Monzie brought together two ministries, Fine Arts and National Education, on which the Museum depended, even now, after the ministries had been separated by André Malraux.
This Museum opened on January 14, 1934 with an exhibition of "Contemporary Animals" in the Botanical gallery fitted out for this purpose, as well as the reconstruction of the small workshop of Pompon, the regular at the Jardin des Plantes and his outdoor school. air.
We will go to see the Museum more than the exhibition which will not arouse great enthusiasm from which many will be absent. “Is the Botanical Gallery going to become the occasion for a sentimental pilgrimage?" Asks Ivanhoé Rambosson. It will be the last meeting of the Twelve, the most important that we have ever seen: 150 artists, painters, sculptors, engravers, medalists, decorators, Hernandez does not take part.

In February, the Swiss Artists exhibit at the Bernheim gallery with Sandoz and his Swiss friends: Petersen shows traditional know-how, while Wuillemer and Huggler show a modern trend (Mercure Universel)