OUR PERMANENT ARTIST
It was at the age of 29 that this artist of Quebec City discovered the “graffiti”. In 2012, a longtime friend taught him the basics of this art. He immediately falls in love with this approach. Having spent several years painting in the street under different pseudonyms, graffiti becomes a passion. He worked his art at every free moment he has. Self-taught artist, he appreciates creations where the bright colors led him to feel alive. The ” graff ” allows him to claim is own personality. Protester, he uses the contrasts of his life and materialize them through his art.
In 2016, he decided to take the plunge and work his way through the Quebec art galleries. Different from the other painters, his explosive style is always evolving.
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Today, Boudro spreads his passion through more complex dense and detailed works which symbolize the movement, the wild rhythm of the city life, the stress, the crowd. He creates perspective and depth effects ; volumes and colors both interact so as to express the chaos, but always with a touch of humor.
Now, he places emphasis on two medias which have always been present in his work : advertising and comic strip.
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For the artist, color holds a vibration akin to music. This vibration invites us to see a world expressed through the power of abstraction, rather than pictures or words.
This freedom of gesture, in full awareness of the present moment, relies on a foundation that springs from an amalgam of knowledge and artistic spontaneity.
For the creator, design, balance and structure are essential to deeply and powerfully express a painting in all its uniqueness.
«Beyond the joy of painting, the whole beauty of abstract art for me is the fact that it is boundless. Each person, regardless of their culture or background, can see themselves in it and experience their own emotions».
In 1997, she completed a bachelor’s degree in design from Université Laval in the city of Québec, and in 2004, she channelled her energies into a second bachelor’s degree, in sculpture, from the Université du Québec à Chicoutimi. Definitive confirmation of her artistic approach came in 2008 with the completion of a master’s degree in creation from the same university.
Since 2005, Marie-France Boisvert has pursued her artistic endeavours with the same fervour, earning a series of awards, distinctions and recognition from her peers through exhibitions in Canada, the United States and Europe.
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He received a grant from the Cultural Affairs Ministry of Québec and took part in several solo and of group exhibitions through Canada and United States including an exhibition to the house of Québec in New York in 1984. His work is represented in several galleries in Canada, United States and Europe.
Several private and public collections own paintings of Normand Boisvert, including the Royal Currency collection of Canada and the museum Pierre Boucher of Trois-Rivières.
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She has painted for couple of years now, exploring and defining her personal style. Champoux has reinvented the way of painting flowers. Her cheerful and colorful personality is translated into her paintings in such a way that strong emotions, sensuality and exaltation are well represented. High gloss finish, shapes and textures are combined in an elegant way, rendering a different message in every piece. A tribute to femininity, Champoux’s way of dancing with colors and textures brings grace and refinement to her work. She shows the strength and versatility of acrylic by creating tridimensional impressions. This amalgamation makes Champoux’s contemporary approach to a timeless subject will be enduring.
While remaining true to her personal style, she recently introduced a new theme her public will be delighted to discover, as she paints modern cities highlighted by bright colors and multiple reflections.
The artist uses a mixed technique on canvas. Combining acrylic with airbrush, coal, gel, mortar, sand and cotton makes it so that each piece is unique. Champoux has a very particular way to apply acrylic, as she melts the colors into one another with her hands. As a result, her paintings are unique, vibrant and transmit high emotions to the viewer.
Her need to create being as essential to her as breathing, she dedicates herself fulltime to painting. Creativity offers her the liberty to dive in to her inner self where there are no limits.
Champoux’s desire is to transmit love, happiness, passion and beauty through her painting, as an “Hymne à la vie” and at the same time offer her public a well-deserved pause filled with softness in this fast track world.
Her paintings are sold in Canada and the United States both to individuals and corporations, and from there they travel all over the world.
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Armée de son diplôme des Beaux-Arts de l’Université du Québec à Montréal, Corno prit la décision de faire carrière de peintre. Peu après, elle eut sa première représentation à la Galerie Clarence Gagnon à Montréal.
Vers la fin des années 80, elle était devenue la chérie des collectionneurs montréalais et comptait parmi les artistes québécois les plus recherchés. Sa réputation s’étendit au reste du Canada et elle eut des expositions à Toronto, Ottawa, Calgary et Vancouver. Ses oeuvres furent présentées au Pavillon du Québec à l’Expo 86 à Vancouver, ce qui contribua largement à son essor. À cette époque, elle était représentée par la Galerie Yves Laroche et comptait de plus en plus parmi les artistes les plus respectés au pays.
Fort de ces succès, Corno se tourna vers les États-Unis où elle fit son entrée en scène au Morgan Gallery à Boston et à l’Université de San Diego. Mais la ville de New York l’interpellait et elle y déménagea en 1992. Elle participa d’abord à des expositions de groupes et à bon nombre d’événements artistiques. Suivant dans les pas de Georgia O’Keefe et Salvador Dali, elle exposa chez Steuben Glass Gallery sur Madison Avenue à New York. Tout indiquait que le meilleur était à venir!
Le nouveau millénnaire amena Corno à la Galerie Opéra à Soho qui commença à la représenter avec enthousiasme. En quelques années seulement, elle devint la plus recherchée de leurs artistes contemporains. Ses oeuvres figurent en permanence à New York, Londres, Paris, Venise, Monaco, Hong Kong, Singapour, Séoul et Dubai.
Le succès international de Corno est phénoménal. Ses dichotomies fougueuses, son style nouvel expressionisme mariant des détails figuratifs minutieux ont une résonance contemporaine audacieuse. Son colori tout de brillo allié à ses textures intenses et ses coups de pinceaux généreux font tout pour chatouiller l’oeil.
L’année 2009 est déjà complètement chargée. Avec une demande sans cesse croissante pour ses œuvres, Corno aura eu une importante exposition solo à Opéra Gallery Singapore au mois de mars, suivie de sa première exposition solo à Opéra Gallery Dubaï en avril. Un événement marquant de cette année est le fait d’avoir été choisie par le Festival International de Jazz de Montréal comme Artiste invitée alors que le Festival de Jazz célèbre son 30e anniversaire, ce qui coïncide avec le 30e anniversaire de la carrière artistique de Corno. Le Festival de Jazz a commandé une œuvre qui a été dévoilée à la mi-juin au lancement de la nouvelle Galerie du Festival. La Galerie AKA a eu son Vernissage du printemps en tandem avec cet événement prestigieux et en aura un important à l’automne. Durant l’été, la Galerie Thompson Landry à Toronto célèbre elle aussi un anniversaire en mettant les œuvres de Corno en vedette. Une autre importante exposition est prévue cet automne à la Galerie Opéra Londres.
Ces expositions suivent une remarquable série en 2008. Elle exposa d’abord à la Galerie Opéra Hong Kong avec un succès sans précédent. Puis, ce fut au tour de Paris de l’accueillir avec Corno et Moz suivi de près par une exposition de groupe MADE IN NY où ses œuvres furent juxtaposées à celles des maîtres américains qui l’ont influencé dont Warhol, en particulier. Puis, la Galerie AKA à Montréal déroula le tapis rouge, et ensuite on la fêta de nouveau avec Roc-Roussey & Corno, une autre importante exposition à la Galerie Opéra New York.
Cette montée internationale s’est faite par étapes. En 2007, Corno fut l’Invitée d’honneur au Fido Spot à Toronto où ses oeuvres furent projetées sur le plus grand écran numérique plein-air au Canada. Avant dela, son travail fut le point de mire de Luminato, le Festival des Arts et de la Créativité de Toronto en plus d’être exposé à la Galerie Thompson Landry.
En 2006, ce fut l’ouverture de la Galerie AKA à Montréal qui représente exclusivement les oeuvres de Corno. Un événement qui ne passa pas inaperçu dans les médias de Montréal qui lui accordèrent la manchette aux nouvelles! Au début de l’année, Corno fut l’artiste invitée du Cirque du Soleil pour leur Première de Alegria au prestigieux Royal Albert Hall à Londres. De plus, ses oeuvres figuraient au salon VIP ainsi qu’au somptueux Roof Gardens aménagé de façon spectaculaire pour l’occasion, ainsi qu’à la Galerie Opéra Londres. Deux autres expositions à signaler : Left Coast Gallery à Los Angèles et la Galerie Opéra Hong Kong où elle fit des ravages.
Des temps forts à noter en 2005 : une interview par le réalisateur Bernar Hébert, récipiendaire d’un prix Emmy pour son film L’Art du Nu qui fut lancé au Festival International des Films sur l’Art, puis diffusé sur les réseaux Bravo!, ART-TV, France 5 et Radio-Canada. Avant cela, lors de l’événement Massive Media Techno-Graffiti dans le quartier huppé de Columbus Circle et à Union Square à New York, l’art de Corno fut projeté au grand bonheur des new-yorkais et des touristes sur des façades entières d’édifices grâce à des technologies de fine pointe. En début d’année, Corno fut l’artiste invitée du Train New York Paris, un événement international de mode qui attire designers, conservateurs de musées, diplomates et célébrités, où elle créa une murale spectaculaire de 14 mètres.
La liste internationale des musées, des corporations et des collections publiques et privées ne cesse de grandir sur plusieurs continents. En 2009, Corno eut l’honneur d’être nommée par MORE MAGAZINE parmi les 40 Femmes au-dessus de 40 ans les plus remarquables du Canada. Puis c’était au tour de Châtelaine de l’inclure dans le Club des 100 – 100 femmes qui marquent le Québec. À force de travail et de persévérance, Corno est dans une situation enviable. C’est pourquoi elle encourage les jeunes artistes à faire comme elle, à suivre leur rêve parce qu’il arrive que les rêves se réalisent parfois.
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Her first job was in design illustration. She was granted a mention from the Newspapers Advertising Bureau in New York for the excellence and the originality of her work. Faber now teaches design illustration.
Following her passion for nature and grand spaces she works in illustration for Parks Canada and le Jardin Ven Den Hende (Laval University). She also works in editing and illustrating book covers concerning Isles of the Saint-Lawrence river.
She privileges most of all the isles where she spends most of her summers. Nature, flowers, inspires and motivates her work of art. Luminosity bathes her subjects which release clear colors of a vibrant and strong nature.
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Since 20 years, he works as a freelance designer specialized in environmental projects.
He truly begins to paint in 1997, water and autumn colors being his main theme study.
« Water becomes the painter’s mirror as it behaves on light and color reflexion. Just as the artist, it is a sensitive surface wich receives the image and changes it according to its mood. Perceptions and sensations get modified as it troubles vision and glistens, but above all inspires and becomes a soul’s mirror for the observer. » On the canvas, leaves of the fall’s goldens and purples blend and dissolve on the pond’s surface while forests blaze under the morning sunlight.
His predilection medium is acrylic, and at the center of his pictural research stand colours, light, motion and spontaneity. Like impressionists, he catches life moments to make them live in his paintings.
L’acrylique est son médium de prédilection et la couleur, la lumière, le mouvement et l’instantanéité sont au centre de sa recherche picturale. Un peu à la manière des impressionnistes, il capte des instants de vie pour les faire vibrer dans ses tableaux.
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The artist express and speaks on the canvas with a safe and vigorous gestures. An expressive painting, in which a swirl of movement is emphasized by warm, strong and powerful colors. It can’t leave the viewer indifferent.
Gagnon graduated from the Academy of Arts in Montreal in 1990
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His place of residence and his family environment have no doubt influenced what he is currently doing. Since childhood, he has been living in the magnificent county of Charlevoix, which is an almost unlimited source of inspiration for him as well as for a great number of artists.
The success of his first exhibition held in 1996 encouraged him to go on and his passion for painting only became greater. Stefan loves nature and adventure. He travels all over North America and, drawing his inspiration from his travels, he then paints works marked by emotion. Stefan likes well-defined contrasts and significant variations in colour value. He paints very vibrant pictures with a pallet knife and great spontaneity.
Stefan Horik currently exhibits his work in galleries across Canada and is represented in the United States. In short, the paintings of his artistic career are inspired by travel and time.
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After studying at the “Ecole Boulle” (Paris), Patrick was destined to commercial architecture, but he rapidly change is mind to work as an Industrial Designer. He spent 30 years at the service of companies and brands where he wins prestigious prizes in Paris and Tokyo.
He chose to settle down in Montreal to pursue his passion of creating unique furnishings and brushing his point of view on canvas. He pushed his technique of painting to the extreme precision of hyper-realism, using all available techniques in search of perfection.
Today, he releases the pressure and let his brush works on the canvas at the risk of leaving the normal path of academic art, which was his daily routine for so long. He still keeps some habits of his industrial designer career, the perspective, the respect of the building and the proportions are still really important while he even allow himself sometimes a hyper-realistic glance… just for fun.
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While his visual art studies gave him the opportunity to develop artistic thinking, his design baccalaureat permitted him to handle more freely with the power of colours.
Using only a spatula, acrylic paint and wood/canvas frames, he puts colours on the frame and scrapes the pigments to throw into relief colours and textures, thus creating nuances and rich gradations. His artistic way of painting takes its roots in the movement and material. The colours vibration brings to life each one of his painting into an abstract and bright universe. The artist knows rarely the ﬁnal form of his art work. It is this part of the unknown and spontaneity that gives the whole meaning to his painting.
His art work has been recognised in different Quebec publications such as Journal de Québec, Sofadéco, Bazzart and Québec Scope Magazine. His paintings are exhibited in several art galleries in the province of Quebec. As an artist Hugo involves himself in various humane causes, such as CLIDEP Haïti, LGBT, Dystrophie musculaire Canada, Société Parkinson du Québec and GRIS-Québec.
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She has taken part in several solo exhibitions in Montreal, Quebec city, Toronto, Calgary and Victoria. She has more than 50 group exhibitions to her credit in Canada, France and the United States. Her works are part of numerous collections. She was elected to the Royal Canadian Academy of Arts in 1996.
Born in Trois-Rivières, Québec, in 1949, Michel Pleau displayed a natural drawing and began a successful career in artistic design. Since 1972, he has participated in more than 20 group exhibitions in North America and Europe, including: “ten selected artists” in New York, “Theme Art, 15 peintres du Québec” in France, and a traveling exhibition in Spain. He has won many prizes including 1st Canadian Grand Prize in 1989 and he is a member of the Association des Artistes Peintres Créateurs Associes du Québec.
Her research is aimed at landscapes, our impact upon nature and its ecosystem. Reflecting her personality, her work proposes arrangements that are explosive, a choice of bright and intense colors where spontaneity and intuition are valuable guides.
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Simard has painted murals for the Imperial Oil Compagny and Parks Canada, among others. He has created eight stamps for Canada Post. Hallmark has published a collection of 48 cards by Simard and his work has appeared on the cover of Reader’s Digest and Selection several times.
He died in Sainte-Foy at the age of 71 years old in 2014.
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She lived in Paris before moving to New York and Portland, Maine. Made quite a few trips to Ogunquit. Married Percy Baldwin the violinist and settle in Quebec City in 1924.
A talented artist, Baldwin was born and grew up in an artistic milieu. She drew her first sketches when she was just six years old. Baldwin got her first real job at the age of ten: she submitted well-liked cartoons to a newspaper. She already had an extremely delicate and complex style, recreating the luxuriant hair of dogs and horses which was all the rage at the time.
In 1924, she settled in Quebec, which she adopted as her country: “This is now my country and I shall never leave it. There is no better place for an artist than Quebec. I adore painting winter scenes and scenes of the Quebec countryside.”
No other Quebec artist than Baldwin could have brought picturesque Quebec to the rest of the world with more enthusiasm and introduce the province to the world before the advent of television. Baldwin recounts the history of Old Quebec in hundreds of extraordinary oil paintings and pastels.
A figurative painter, Baldwin painted what she saw, her chosen subject. Her vibrant, airy and radiant paintings depict houses, sites in Old Quebec and the surrounding area in the finest detail.
Not a lot of her paintings are on the Quebec market. In Quebec City, her preferred city, you can find a few in galleries every now and then. For reasons not clear, the best being the period in which she put together her best production, Betty Baldwin never made it big on the market. However, according to her faithful followers it’s only a question of time.
She made more than twentyexhibitions, at the Foyer du Palais Montcalm de Québec.
He developed a style of decorative realism in his painting and taught at the Montreal Museum of Fine Art. He received the Jessie Dow Prize in 1935 at the Montreal Spring Exhibition. He enlisted again in 1939 and from 1943 to 1947, he was an official war artist. He became an associate of the Royal Canadian Academy in 1936 and full member in 1947. He served as president of the RCA from 1964 to 1967.
Harold Beament travelled extensively, including the Arctic, and studied the Baffin Island Eskimos. In 1955, Beament designed a ten-cent stamps with an eskimo figure. He worked in oil, watercolour, charcoal and lithography.
Later, he made Eskimo lithographs for the Queen Elizabeth Hotel in Montreal. His work hangs in the National Gallery of Canada, The Dominion Archives, The Montreal Museum of Fine Arts, The Museum of the province of Quebec, the Seagram collection and elsewhere. He lived in Montreal, Quebec until his death in 1984.
Léon Bellefleur was part of the second international Cobra exhibition at Liège, Belgium, in 1951 and in 1953 he joined the automatisme movement. He studied engraving in France at Friedlander’s and Desjaubert’s studios in 1954, and upon his return to Québec in 1957 developed his “facetted” painting style in which his nonfigurative compositions were built up with a spatula. Later, after his return to France in 1958, he drew close to André Breton’s surrealist group.
A first retrospective of Léon Bellefleur works was organized in 1968 by the National Gallery of Canada, travelling to Ottawa, London (Ontario) and Montréal. Numerous exhibitions of his work have been held in Brazil, Canada, England and Denmark. He was, in 1977, the first winner of the Prix Borduas; he also received the annual prize of the Société Saint-Jean-Baptiste in 1985 and an honorary Ph.D. from Concordia University in 1987. Léon Bellefleur was inducted into the Royal Canadian Academy in 1989.
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In 1919, he began to work as a commercial artist at Rous & Mann Ltd., where he became the assistant to Group of Seven member Franklin Carmichael, a connection that would prove to be invaluable. Casson joined the Arts and Letters Club in Toronto in 1920, where he met the other Group members. In 1926, Casson was invited to join the Group after the departure of Frank Johnston, and forged his identity among them with his images of southern Ontario villages and rural countryside, as well as the Ontario northland. In this same year, he co-founded the Canadian Society of Painters in Water Colour with Carmichael and F.H. Brigden, to promote the significance of this medium, as well as becoming an Associate of the Royal Canadian Academy (later becoming a full member).
He also joined the commercial art firm of Sampson Matthews Limited, where he would work until 1958. During this time, he explored the Ontario countryside on sketching trips as often as possible, and after his retirement from Sampson Matthews poured all his energy into painting. As well as traveling to such painting places in the wilderness such as Algonquin Park, Haliburton and the Madawaska River, Casson toured southern Ontario towns extensively, painting subjects such as houses, stores and mills, which he imbued with great warmth.
In 1933, he was one of the founding members that created the Canadian Group of Painters. He was also involved with the Ontario Society of Artists, and was elected its President in 1941. As well as exhibiting regularly in Canada with the Group, the Ontario Society of Artists, the RCA, the Canadian Group of Painters and the Canadian Society of Painters in Water Colour, he participated in many international shows such as in Wembley, England, the Jeu de Paume in Paris, the Tate Gallery in London, the Canadian Club in New York and the National Gallery of Art in Washington, to name a few. Later in life, honours poured in, as his special status as a Group of Seven member garnered great appreciation, and his regular exhibitions at Roberts Gallery sold out. Casson passed away in 1992 at the age of 94.
This career in publicity does not succeed in satisfying Bruno who, from his childhood days, dreams of wild landscapes. Outings in the forest multiply and become accomplices of a continuous quest for the subtle visual elements that transform a natural scenery into a grandiose happening. This fascination will have outdoor activities follow one another untill the mid-sixties when Bruno becomes initiated with painting. From this moment on, he has an only dream: to devote himself entirely to Art.
In 1978, his dream comes true. Baie-Saint-Paul becomes the family’s place of residence and Charlevoix the painter’s inspirational core. A full year of his passionate and tenacious work enabled him to offer the public his first important solo exibition.
Charlevoix’s colors and mountains quietly become insufficient for Bruno’s inspiration. In 1980, he decides to explore elsewhere in his home country: Canada. A journey in the Rockies is then organized and becomes the first of many expeditions that will have him travel our land from West to East. Because of its continental dimensions, its multitude of forces and contrasts as well as the diversity of its people and scenery, Canada offers a richness of inspi ration. The Pacific Rim’s wild beauty in British Columbia, the warmth of Labrador’s icebergs, the immensity of the Prairies’skies, the North’s savage force and Quebec’s magnificent forests are all elements of love impregnated in the painter’s work.
Bruno Côté died on June 30, 2010 at the age of 69.
Downes enjoyed considerable popularity in Canada and abroad during the sixties and early seventies. His paintings have been exhibited at the Museum of Fine Arts of Montreal, the Montréal Art Gallery, l’Art Francaise Gallery of Montreal, the Royal Canadian Academy, the Beaverbrook National Gallery of Fredericton, N.B., and the Israel National Gallery of Tel-Aviv.
In the United States he exhibited at the Palette and Chisel Club of Chicago, the Art Student’s League of New York, and the Veerhoff Galleries of Washington, D.C.
Lionel Fielding Downes died suddenly on December 28, 1972 in Ste-Foy, Québec.
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Marcelle Ferron registered at the Québec École des beaux-arts (1942-1944) but quit her studies before completing them. In 1946, she met Paul-Émile Borduas and enrolled at the École du Meuble in Montreal where he was a teacher. She was one of the last artists to officially join the group known as the Automatistes. She was also one of the youngest signatories of the Refus global manifesto in 1948. She held her first solo exhibition in 1949 at Librairie Tranquille in Montreal. She began to gain recognition in the art world.
Towards 1953, Marcelle Ferron left her husband and moved to France with her three daughters. There she rented a house at Clamart, a suburb of Paris, and set up her studio. The Europeans appreciated her abstract works, full of light and life. During her stay, she took classes in Paris under Michel Blum (1964), a glasswork artist. She participated in many group and solo exhibitions in galleries and was part of the art shows at the Salons d’Art Contemporains held the Musée d’Art Moderne in Paris. During this time she also exhibited her work in Canada, the United States and many other countries in Europe (Germany, England, Italy and the Netherlands). She received a scholarship from the Canadian Council of Arts in 1957; a prize from the Montreal Museum of Fine-Arts in 1960; in 1961, she represented Quebec at the Sao Paolo Biennale in Brazil and won a Silver Medal, the first time a Quebec woman has won this prize.
It was an internationally recognized artist who returned to Quebec in 1966. She devoted herself to working with glass for the next seven years. She created her first masterpiece in this medium, the windows at the Champs-de-Mars Metro Station in Montreal, being built for the 1967 World Fair, Montreal’s Expo ’67. She created many public works in this medium until 1973. In 1967 she started teaching at Université Laval in Quebec City. She taught Architecture from 1967 to 1970 and then Visual Arts from 1970 to 1979. During those years, she was elected a Member of the Royal Canadian Academy (1972).
In 1973, she went back to painting full-time, and exhibited her works in galleries and museums in Montreal, Quebec, Ottawa, Toronto, Winnipeg, Paris and Mexico, either in solo or group exhibitions. The first Retrospective Exhibition of her work was held in 1976 at the Musée d’Art de Joliette in Quebec; the following year, she was awarded the Louis-Philippe Hébert Prize. In 1983, she was the first woman to receive the Prix Paul-Émile-Borduas, the highest honour conferred upon visual artists by the Quebec Government. Two years later she was made Chevalier of the Ordre National du Québec. In 2000, she was named Grand Officier of the Ordre National du Québec and a retrospective show was held at the Musée d’art Contemporain de Montréal. She died a year later in Montreal at the age of 77.
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Fortin’s work, devoted entirely to landscape, demonstrates his love for a rich and bountiful nature. His brush transforms heavy clouds, thick foliage and rising hills into large, free forms, vibrating with colour.
Despite studying in the rather conservative setting of the École du Plateau with Ludger Larose, the Monument national with Edmond Dyonnet (1904-08), and at the Chicago Art Institute (1908-14), he developed a modern view of rural subjects. The Laurentian lowlands, the Montréal suburbs, the Charlevoix region and the Gaspé Peninsula in turn attracted his attention.
Only relatively late in life did this solitary painter receive limited recognition: the Jessie Dow Award (Art Association of Montreal, 1938), associate of the Royal Canadian Academy of Arts (1942) and a retrospective exhibition at the Musée du Québec (1944). Fortin remained unfathomable for most of his contemporaries. His prolific production, experimentation with various media and personal vision of nature have established him as a pioneer of modern art in Québec.
Also renowned as a caricaturist, Hudon’s caustic drawings have appeared over the years in Montreal newspapers such as La Presse and Le Devoir. Hudon’s irreverent eye consistently influenced his paintings, which usually depict familiar Montreal neighbourhoods and characters. Normand Hudon died in January 1997.
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When he left the École des beaux-arts, his path was drawn straight and bright in the Québec painting landscape. Involved in social aid, he takes part in numerous activities to raise funds through auctions and publication of silk-screen works.
Rooted in Charlevoix, an area he loves and that inspires him greatly, Le Sauteur paints the reconciliation of man and nature. In 1989, an exhibition of his works on paper was held at the bibliothèque centrale de prêts in Québec city. In 1991, a retrospective of his work was organized at the Villa Bagatelle in Sillery.
Le Sauteur has exhibited solo or in group many times, including at: Bibliothèque nationale in Ottawa ; Bibliothèque nationale du Québec in Montréal ; and Canadian cultural center in Paris. He became a member of the Royal Canadian Academy of Arts (1989), and an honorary member of the Cercle de la garnison de Québec. He also gets the Québec Lieutenant Governor Medal (1950) and The Alphonse Desjardins Medal (1984).
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As a child, Tex Lecor`s father took him under his wing, and taught the young artist to paint and draw. As soon as he was old enough (18), he moved out of his native town of Saint-Michel de Wentworth, to Montreal. His goal was to study at the Montreal School of Fine Arts, which he accomplished in 1951. Once in Montreal, he met many local artists, including Léo Ayotte. Although Ayotte was many years Tex`senior, they forged a strong bond which lasted until Ayotte`s passing. Tex Lecor admired many artists such as Goodridge Roberts and Franklin Carmichael, the only artist he says inspires him was Léo Ayotte.
In 1960, Paul Lecor Moved to Old Montreal; at the time an area known as an artist`s and musician`s area. He was having a lot of trouble making ends meet as a painter, so he began singing and playing guitar. Always a man with a good sense of humor, Tex`s songs were often satyrical and were well received by Montreal audiences. Even though he was now a performer, he still made time once a week to teach young artists at his downtown studio. By the time “EXPO 67” came around, he had made it, and by 1970 he was offered a part in the television show “Sous Mon Toit”; he was considered a star. He was now making enough money to support his primary passion, painting full time.
With his lifelong dream finally coming true, he refused to waste the opportunity. He was extremely prolific, and sold his work at an art Gallery in Laval. This type of exposure allowed him to hold his first solo show in 1976. For the next several years, he experimented with color and subject, exploring all aspects of his personality. His pieces often had humorous undertones, but ther was always a degree of sincerity in his subjects. He never intended to convey any message, just to truly explore color.
In 1987, still painting and exhibiting, he was offered a chance to travel across Canada and meet with other artists for an open forum; the excursion was taped and broadcast on CBC. He had the chace to meet Guido Molinari and Jean-Paul Riopelle, which left him feeling re-energized about his own work. His colors evolved once again, as he told the tale of his life through his paintings. Every moment he spent away from his true passion, was only a stepping stone in order to forward his dream.
She studied drawing and painting at the Fine Arts School of Québec for five
years and began her painter career in 1960. From 1967 to 1988, she has participated in many group exhibitions and exhibited solo in Québec, Montréal, Ottawa and San Francisco. Her palet knife figurative style with her vivid colours made her painting happy and full of light. She travelled to the United States, Spain, Hawaii, across Canada and especially in Québec, which yields many magnificent landscape paintings.
She his a founding member of the Figurative Art Institute. She has on many occasions given her paintings to charity organizations.
Her work is in many public and private collections throughout the world.
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In 1929, he began painting, and teaching art for the next 28 years. He taught at the École des arts et métier at the Montréal School Board and Ville Sainte-Foy. He has exhibited portraits and landscapes at the Royal Canadian Academy of Arts, Montréal Museum of Fine Arts and importants galleries in Québec , Canada and abroad. He has painted in France , England and Italy notably in the Vatican gardens. Retrospective of his work: Université Laval (1988) and Villa Bagatelle, Sillery (1991). He participated in Toronto and Montréal at the 1st exhibition of the Québec members of the Royal Canadian Academy of Arts (1991), of which he is a member since 1946.
He received… Honourable mention, Lord Wellington contest in Ottawa (1927); grants from the Québec government (1928, 1929); silver medal, French Consul General (1928); 1990: became Knight of the Merit Order of the Italian Republic . 1991: Chevalier, Ordre National du Québec. 1992: Order of Canada .
Francesco Iacurto’s work can be found in private and public collections around the world, the Musée National Des Beaux Arts, the National Gallery of Canada, The senate in Ottawa, Québec parliament, City of Québec, etc.
He died in Sainte-Foy at the age of 93 years old in 2001.
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Returning to Montreal he became a draughtsman in his father’s architectural firm (Luke & Little) in 1951. He married in 1953 and turned exclusively to painting. His street scenes won him wide acclaim. His paintings of old Montreal and Quebec City streets, houses and countryside were exhibited at the Watson Art Galleries. During a solo exhibition at this gallery in 1957 the Montreal Gazette noted, “His vision is clear and his interpretation of his subjects is solid and literal. His buildings are solidly based, bear the marks of age and are recorded with a laudable attention to drawing. The last-mentioned quality apparently presents him no problems. His figures have animation, there is a convincing sense of movement in the crowds and the impression of traffic congestion in narrow streets is capitally conveyed.” Little became an Associate of the Royal Canadian Academy in 1961.
Dorothy Pfeiffer reviewing his work in 1964 noted, “Those bemoaning the seemingly ruthless demolition of hundreds of Montreal’s gracious old-world homes and other buildings, the disappearance in the name of progress of various little private nooks and parks, and the often callous disposal of dignified stone pillars and amusing cornices will gain nostalgic pleasure from John Little’s show, for he had dedicated his painting to the preservation of such items for posterity. Yet so spirited and relaxed is his painting technique, that his work can in no manner today be labelled as merely documentary. He paints city streets ankle-deep in slush, where his not-quite-ripe olive green mixture carpets pavements with a mélange resembling Quebec limestone. He peoples his old streets and secluded sylvan sites with groups of today’s spirited adults and children .Three important qualities it certainly contains: assurance, individuality and artistic honesty.” He has done covers for Maclean’s Magazine in which his great sense of humour blends with his artistic abilities to depict Canadians at work and play.
He is represented in the National Gallery of Canada, Beaverbrook Art Gallery, Sir George Williams University Collection of Art, and many private collections.
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He was successively Exhibition Director at the Musée du Québec (1950-1958); representative at the National Gallery of Canada for the Eastern Region (1958-1962), and assistant director at the Musée du Québec (1963-1964). In 1973 he represented Canada at the 5th Biennal of Canadian painting at the Commonwealth Institute, in London, England. In 1979, he exhibited in the same city with the Elisabeth T. Greenshield Collection. Four other group exhibitions were held in London (England), Paris, Madrid, and Düsseldorf (Germany), with the O.J. Firestone Collection.
Honours: 1st prize, drawing and painting (1941-1946) at the Exposition provinciale de Québec; 1st prize, Salon du printemps, Montréal Museum of Fine arts (1956); 1st Canadian artist to receive a grant from the Salvador Dali Fondation of the Bryn Mawr University in Pensylvania (1958). In 1960, he became a member of the Royal Canadian Academy of Arts, and an associate member in 1973; and represented Canada at the 2nd Biennale internationale in Paris (1962).
Claude Picher died in 1998 after a long disease.
Claude Picher est décédé en 1998 des suites d’une longue maladie.
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In 1970, Rousseau is the owner of a mill. He renovates it and makes a place of exposition and a place to meet with other painters and amateurs coming from different region of Quebec and Others. It is named Le Moulin des Arts. His career is punctuated of numerous expositions all around Canada, New-York and Paris.
We find some of his work in collections of many museums also in numerous art galleries, public and private collections. His whole life was dedicated to art. He died on March the 18th, 1982.
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He was perhaps most significantly influenced by his stepfather Maurice Cullen, who introduced Pilot to the arts when his mother married Cullen in 1910.
After having studied under William Brymner in Montreal, Pilot traveled to Paris in 1920 to study at the Acadèmie Julian, and exhibited at the Paris Salon in 1922. While in France he also visited the artists’ colony at Concarneau in Brittany, where he absorbed the work of the Impressionists and later incorporated their style into his own work.
Upon his return to Canada he was elected an associate of the Royal Canadian Academy, later serving as RCA president from 1952 to 1954. He had several successful exhibitions throughout his lifetime, and after passing away in Montreal in 1967, Robert Pilot was honoured with a retrospective exhibition in 1969 at the Montreal Museum of Fine Arts.
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