Andrée Vézina was born in 1952, in Montréal. She completeda B.A. in Sociology at the Université Laval while studying drawing in cegeps, museums and various workshops. After she left university, she experimented more thoroughly in art. She ‘s selftaught. her major solo exhibitions were held at Pratt & Whitney in Longueuil (1986); Galerie la Corniche in Chicoutimi (1987); Alliance française in Ottawa (1988). She has also participated int he exhibitions:”Les femmes peintres du Québec” at the Musée Marc-Aurèle Fortin (1989) and “Les Femmeuses”. She won 2nd and 3rd prizes awarded by the Canadian Watercolour Society in 1984 and 1985. She was also nominated “Artiste de l’année” at Pratt & Whitney in 1986.
Guide Vallée III.
Andrée Vézina has been an active member of the visual art scene in Québec for over thirty years. Her work is essentially centered on thematics, which prevail over her production, closely connected to seasons. Winter dims her colour palette, reflecting ambient luminosity as well as interiority inherent to this season. Musicians, tango dancers and theatrical display evolve subtly. Spring reanimates colour. Yellows, acid greens, bright pinks strive against shivery blues. Travel related themes emerge. The artist explores light from warm and sunny countries, depicting African women, Vietnamese pirogues, and laborers in fields or rice plantations. Summer warms the palette extensively, blending pinks, yellows, reds, oranges and violets. Colours and tones become vivid and intense, bringing forth flower bouquets and markets, street musicians, celebrating life! Autumn restores serenity with muted harmonies. The cycle of seasons initiated with fruit and vegetable markets now comes to term with still life of dry and faded flowers, late autumn fruit, and abandoned gardens. Tones of brown, ochre and black now prevail, inviting the return of vanished musicians. The plastic art of Vézina features generous textures created by the abundant use of material, allowing the artist to literally fragment paste. This dimension confers a tactile facet to her work, as she marks her canvas with irregular patterns flowing through the entire surface. The subject appears to be emerging from magma, engendering a fusion between form and matter. Ref. Robert Bernier in La peinture au Québec depuis les années 1960 Éditions de l’homme, pp. 327-328
Délicatesse et démesure. La vie et l’oeuvre d’Armand Vaillancourt, inextricablement mêlées, s’inscrivent entre ces deux extrêmes. L’engagement, la création et l’existence quotidienne de l’artiste forment un tout indivisible, même si au premier abord, l’abstraction des œuvres, gravures minimalistes ou sculptures monumentales, paraissent éloignées de toute démarche politique.
Fougue d’un homme qui a fait de sa vie une œuvre, et de son œuvre un combat inlassable contre toutes les injustices. Comme il aime à le dire lui-même, il est un « guerrier » qui a fait de son « je » depuis longtemps un « nous ».
Vaillancourt utile les matériaux, le bois, le bronze ou l’acier coulés, le polystyrène, le béton, la pierre, comme des objets à explorer et conquérir, de la performance publique de l’arbre de la rue Durocher (1953) – où il s’approprie un arbre de la ville de Montréal pour le transformer et lui donner une existence nouvelle, évoquant dans le même temps une relation intime entre l’art et l’écologie -, à la sculpture monumentale en béton, fontaine immense aux formes éclatées qu’il dédie au « Québec libre », lors d’une intervention musclée à l’occasion du vernissage, à l’Embarcadero plazza de San Francisco (1968), en passant par les bronzes et l’acier coulés, qui deviennent parfois performances publiques, et où l’intervention sur la matière brute rappelle en trois dimensions et à une grande échelle, par l’impression de mouvement et d’énergie qui en émanent, la peinture gestuelle d’un Pollock, l’ « automatisme » de Riopelle ou de Borduas.
Les formes organiques et celles créées par l’homme, évoquant notre monde industrialisé, sont mêlées dans les sculptures, évoquant les liens intrinsèques de l’homme avec la nature.
De même, Vaillancourt refuse de séparer l’art et la politique. En témoignent les titres de ses œuvres : « Justice aux Indiens d’Amérique » (1957 : sculpture totémique en bois), « Paix, Justice et Liberté » (1989 : événement participatif), « Hommage aux Amérindiens » (1991-2 : assemblages de bois traités par l’industrie qui ressemblent à des tipis), « Le Chant des peuples » (1996 : forêt d’arbres colorés suspendus), « El Clamor » (1985 : sculpture-fontaine évoquant la répression dans les pays latino-américains)…
Tous ces titres révèlent la multitude des engagements d’Armand Vaillancourt, qui ne doivent pas faire oublier la force, l’originalité et la diversité de son œuvre, qui intègre la sculpture, minimaliste ou monumentale, la peinture, la gravure, les happenings, le théâtre, mais également la musique, qu’il lie intimement à son œuvre plastique : «… avant de voir mes sculptures dans ma tête, je les entends. ». Ses performances de musique concrète, ses sons électroacoustiques créés pour des spectacles de danse ont suscité l’admiration d’un John Cage.
Entre Christ et Chamane, Armand Vaillancourt promène sa révolte et sa joie, ses revendications jamais tues, sa naïveté, portée par l’énergie de celui qui toujours s’étonne, s’écoeure ou s’émerveille. Il fait de sa vie une œuvre d’art, sans jamais cesser de créer, inlassablement, sculptures, peintures, installations, gravures par milliers, dessins griffonnés sur des carnets d’esquisses, toujours bouillonnant, écartelé entre la vie et l’œuvre, trépignant de bonheur devant le « beau monde » qu’il rencontre.
Si les artistes sont « les fleurs de la société », comme l’affirme Armand Vaillancourt, il est la fleur épanouie à la vitalité persistante, revendiquant toujours ce qui « grince » avec la langue chatoyante d’un sage qui a su garder en lui mes étincelles brutes d’une enfance obstinée.
Fernand Toupin was born in 1930, Montreal, Quebec, his first studied drawing at the Mont St-Louis in Montreal. In 1949, he enters the night classes at the Ecole des Beaux-Arts de Montreal. He then studied under Jean-Paul Jérôme from 1949 to 1953 while also frequenting Stanley Cosgrove’s studio. Not being able to live off his art and having a family to feed, he worked at the Municipal Court of the City of Montreal.
In February of 1955, Jean-Paul Jérôme, Louis Belzile, Jauran (Rodolphe de Repentigny, Art critic and artist) and Fernand Toupin lauched the “Manifeste des Plasticiens” during a show held in Montreal. In this they advocated a pure strain in painting. They declared that their ultimate goal was “unity in painting, pure order with no incidentals, and a spontaneous expression of the subconscious”. Their paintings resolved themselves into coloured geometric shapes, eliminating such aspects as suggestion of visible space and ultimately textural effects. At that time Toupin painted his geometrical forms on irregular canvases or what they called shapped canvases.
In 1957, Toupin became Director of exhibitions at the Conseil Exécutif de l’Association des Artistes Non-Figuratifs de Montréal, position that he would hold for two years. He had already been part of the group since 1956 and had exhibited with them at different places including The Montreal Museum of Fine Arts. He kept working for the City of Montreal and painted on his free time.
In the late ‘50s and early ‘60s, he slowly gave up the geometrical and slick painting recipes and started experimenting with a more lyrical and textured works. He exhibited in many solo exhibitions in galleries and also participated to different group exhibitions including “Montréal Collectionne” exhibition (1966) held at the Montreal Museum of Fine Arts, the “Canadian Art” travelling exhibition (1966) held in nine Canadian Museums and also the “Panorama de la Peinture au Québec, 1940-1966” exhibition (1967) at the Musée d’Art Contemporain de Montréal.
In the beginning of 1970, he was offered a solo exhibition in a Paris gallery and had a sold-out show. From then on he was taken under the care of a Montreal art dealer who flooded Toupin with work and shows. This enabled him to leave his job at the City of Montreal and concentrate on painting and exhibiting in Canada, the United-States and France while participating at different shows all over the world in the next decades; Osaka World fair in 1970; IVe Festival Internationnal de Peinture in Cagnes-sur-Mer, France (Winner of the International Prize for Canada); “Jauran et les Premiers Plasticiens” exhibition at the Musée d’Art Contemporain de Montréal in 1977; Art Expo International in New-York in 1980; Tokyo Central Museum in 1990 and many other exhibitions in different Canadian Museums and galleries. During the ‘70s he illustrated books and also helped create decors for different shows at the Grands Ballets Canadien in Montreal. He was elected a member of the Royal Canadian Academy in 1977. He died at the age of 78.
Leo Tremblay was born December 11, 1944 in New Brunswick in the concession Tremblay. At nearly forty miles from Caraquet, in the Baie des Chaleurs , this concession is located within the village of Petit-Rocher .
Leo Tremblay spent his childhood with farmers , loggers and fishermen of his native Canada . Participating intensely throughout his youth, to his own various rural and working class activities , it permeates experiences that mark his work.
“I attach great importance to today things of the earth , people who work with their hands, which depend on temperature , crops , sea and forest for their livelihood . ”
In 1959 Leo Tremblay becomes aware of his interest in painting . His encounter with a local painter is originally valuable trade both technical perspective drawing that intellectual stimulation. In 1963, the teenager leaves New Brunswick with the intent to continue her studies in Art.
During the ensuing years , Leo Tremblay works in different studios Graphic Arts in Montreal, Toronto and Quebec City, as artistic director of a home advertising.
Alongside his work , he painted and continued his research by reading and regularly visiting the Museums of Toronto , Buffalo, Chicago , Philadelphia and Boston. Gifted with unusual curiosity , it multiplies constantly fishing trips in rural regions of Quebec, in his native province and on the coast of Maine.
Thus he is able to observe the various changes of the seasons, the characteristics of each, and to fully appreciate these moments of contemplation. It is this kind Leo Tremblay chooses to paint and tell us .
LEO-PAUL TREMBLE (1924-1995) ” When we look at a work of art when it moves towards us , this is a cut that has already been made and the look must cope . (…) We know that the framing, c is a take on the world … and framing is an autonomous space. ”
Thus the late René Payant described the effect of a work of art on the viewer. The artist, Léo- Paul Tremblé due within the phenomenon of the act of creation : ” My truth to me is one among many others . When I paint , I do not copy a tree. I play with the beauty of the tree. I do my tree. Painting is the dream, the wonderful which is everywhere in a coffee cup in a fruit, in a body, in a tree . ”
Portions of the landscape, both portions, so many landscapes that Léo- Paul Tremblé gave birth in a lifetime : big plans or details , forests, houses , valleys, lifestyle, portraits and trees , and flowers … Tel painter , play with the beauty of a tree , do not forget to see , grab a vision, a portion , frame , are the basic elements of the artist.
Then , the material : pulp, flowing or thick pigment . And then color , colors : all shades of green, gray , black, brown . The light is a burst of white or yellow ocher . And instrument spatula or brush , the two sometimes one sometimes the other , which gives the style because this instrument is an extension of the mind , the soul of the painter.
And is Léo- Paul Tremblé ? A man among us, born in Kénogami , who fished in the Petite-Décharge Alma , which was clerical in lumber camps ” where he learned all the lakes and forests of the north , where he learned all by the look . ”
Discovering art , he watered his soul also poetry , literature , music : sonatas by Chopin, Rimbault poetry , songs Leclerc . Sensitive and ” bourasseux ” he works on the floor , turns around the canvas like a dancer .
When in 1963 , he decided to take a sabbatical and try to live his painting was bold and far-reaching consequence . From the beginning it is supported by the community, and all lovers of beauty and dreams , who bought his paintings throughout his life. 1924-1995 Born in Kénogami . In 1962 , he devoted himself entirely to his art in 1962. The artist explores first the abstract, his meeting Riopelle the firms in its approach. He discovered circa 1970 pastel. He left the spatula in 1981 and then to develop new themes , still lifes , faces, flowers. Painter of the absolute will Tremblé school area.
Since the ’80s , Ann St- Gelais has addressed several aspects of the arts by working as an agent of cultural development , teacher and designer.
Since that time, St- Gelais has ceased to have a parallel artistic production in these various jobs. Can be described multidisciplinary practice since it touched on areas as diverse as drawing, painting, sculpture, design , installation and graphic design .
Ann Saint- Gelais devoted himself entirely to painting shares with her students her passion for art .
In his oils, Ann St. Gelais is in constant search of a pigment light. In its pure compositions exudes a peaceful atmosphere and its intuitive approach to painting , she finds inspiration in his memory Fossil .
This theory inexhaustible visual sensations is cultivated as a source of creative inspiration for the artist and opens windows on his memoirs Personal History .
In his works , Ann Saint- Gelais seeks to capture the essence of the real world and invites us to ask a meditative look at the nature of things .
St- Gelais , who holds a bachelor’s degree in visual arts education at UQAC , was born in 1950 and still lives in Jonquière in the Saguenay.
Ann Saint- Gelais exhibited at the Art Gallery La Corniche for over 10 years.
Albert Rousseau was born in 1908 in St. Eitenne-de-Lauzon. His art career begins with attending the School of Fine Arts, from which he graduated in 1931. He had plans of becoming an independent artist but the Great Depression hit and the artist himself was forced to work. He continued to paint through this time period and beyond it. In 1956 he built a studio for himself and his colleagues to paint at. In 1960 Rousseau began to teach at various institutions in Quebec. He was known, during that time, for organizing a rural exhibition that ran annually, which other local artists have continued on with in his memory. In 1970 Rousseau purchased a mill which he had renovated in to a gallery setting and a place for artists to meet. It was known as Le Moulin des Arts and to this day artists still gather and show work in. It is also the sight of his annual show.
He is one of the forefathers of art in Canada. He had dedicated his life to it. Rousseau had traveled frequently and found it a stimulating source of his work. He would sketch during his travels work and then upon his return would return to his studio to create paintings from his sketches. Known best for his Impressionistic style of painting, it is one from which many other artists have used as inspiration for creating their own style. He was inspiring to and inclusive in the art world until his death in 1982. Rousseau’s pieces still on display portray the memories of a life in art well lived.
Touch, write, burn . Key actions that intensify the process of creation. Lynda Parent also taps into other realities , those of indigenous , primitive peoples Lynda Parent
Lynda Parent lives and teaches in Chicoutimi, and his work is exhibited in Quebec . BA in visual arts education at UQAC , Lynda Parent teaches visual arts at the primary level at the Commission scolaire de La Jonquière .
Alongside his profession , Lynda Parent was introduced to various artistic disciplines and complete a bachelor’s degree in psychology in 1994. His paintings are characterized by the diversity of materials: pigments , sand , metal and paper come together to unveil a universe consisting of symbols relating to personal existence . Touch, write, burn . Key actions that intensify the process of creation. Lynda Parent also taps into other realities , those of indigenous , primitive peoples of African regions and those of the nomadic peoples of the Sahara regions . The assemblies are the basis of his work. Assemblies papers from around the world. ” I especially love working with the sand between my fingers grasp , let it flow , touch, feel the material. The sand comes in different aspects depending on the region from which it comes : rough, smooth , earthy, etc … and those who are dear to me bring me when traveling .” Materials become meaningful and imprégés intrinsic meaning. The presence of a writing engraved in the sand , and that sometimes seems veiled , gives the starting point of its creation. A reflection on the existence of the human adventure. A passion that continues and which enriches every moment of creation.
A look at the history and the memory of time falls beyond the origins of man . Here is what characterizes the foundations of his artistic creation.
The work of Lynda Parent is exposed to the Corniche Gallery since 1999.
Alfred Pellan (1906-1988) is the first Quebec artist to have inspired surrealism. It will boast of having adopted the modern art before Paul -Émile Borduas . Upon his return to Quebec in 1940, after a stay of more than fourteen years in France , Pellan becomes the focus of progressive artists . The cubist and surrealist art he brings with him is however considered too avant-garde , therefore it will sell soon. From 1943 to 1952 , to survive, he taught at the École des Beaux -Arts in Montreal . His active opposition to the theoretical foundations of the Director of the School pushes it to resign in 1945. The school then becomes more liberal in its approach. Indeed, Pellan openly against academicism and is committed to an independent art, more open to universality.
In the art of Pellan form does not remain raw . If it is the result of an accident, the artist has the lead beyond its original state. It emphasizes aesthetics and cohesion of the whole , which often relies on complex compositions. Applied and methodical, meticulous care Pellan brings to the graphic quality of his works , a feature that will grow in importance over the years. This working method offers the possibility to exploit almost infinite universe of its suggestive language. Observe canvas Pellan, you have access to a world of fun , organized, where nature plays a leading role in the inspiration. Keen observer , the artist develops many of his compositions on a similar ordering of nature in its intimate structure mode, both by the repetition of the form and its infinite variety . The spirit of Alfred Pellan over the last twenty years of its production says even more whimsical and humorous dimension of his approach as well as evidenced by several components of the Bestiary .
Henri Leopold Masson, Canadian, (OSA, CGP, GSPWC)was born in Namur, Belgium in 1907. He came to Canada with his family in 1921 and settled in Ottawa. He was employed as a silver engraver for several years as a young man and became a master engraver at the age of 25. Visiting the National Gallery of Canada around this time he discovered the work of the Group of Seven. Inspired by their style and use of colour he was inspired to try painting himself. He studied for a time at the Ottawa Art Association, but was mainly self taught. Two years later, in 1934, he was already emerging as a painter of importance. By 1945 he could devote most of his time to painting and exhibited extensively with good success. He painted genre scenes in the Hull area and landscape in the Gatineau Valley. He also painted on trips to Europe and the United States. He exhibited at the Robertson Galleries and Wallack Galleries in the 1960 and 70’s. A significant collection of his work is housed in the National Gallery of Canada. He died in 1996.
Henri Masson was born 10 January 1907 in Spy, a small village near Namur in Belgium. He started his studies at the Athénée Royale of Brussels when he was 13 and from then on all his spare time was devoted to drawing and painting. After his father died in 1921, he and his mother immigrated to Canada, settling in Ottawa. He started working in an engraving studio in Ottawa in 1923. He also took courses at the Ottawa Art Association and the Ottawa Art Club.
He earned his living, as an engraver until 1945, ensuring the security of his family, which he explained, was vital considering that he had three children and was not by nature a bohemian. This was also a period when few artists were able to make a living by their art alone. Masson therefore worked at the engraving studio during the day and painted in the evenings and on weekends.
Masson first exhibited in 1933, a group exhibition to which he submitted a selection of watercolors, pastels and drawings. His first showing of oil paintings was in 1936 in an exhibition at the Ontario Society of Artists in Toronto.
The Masson household was a beehive of activity and an interesting mix of friends met once a week to discuss music, painting, politics and the state of society. Eclectic, cultivated, open-minded, Masson could be the heart and soul of any gathering. He talked about music as a connoisseur, he was well informed about politics and he could hold forth easily on travel and other interests. He discussed painting in simple terms, very much in the manner of the paintings he produced. For Masson, everything was clear, simple and orderly. It is not surprising that he followed his own inclinations, independent of various trends developing in the arts in Canada. His quick and outspoken manner on occasion caused some controversy, but there was never any contradiction in his paintings or in the consistency of his work.
In 1937, on the birth of his first son, Carl, Masson exhibited at the Caveau. His first solo exhibition was held at the Picture Loan Society in Toronto in 1938, followed by another solo exhibition in 1939 at the Caveau. He also exhibited with the Canadian Group of Painters as well as exhibiting in New York and Montreal.
Masson started exhibiting at the Galerie L’Art Français in 1941. That same year, he became a member of the Canadian Group of Painters and joined the Canadian Society of Painters in Watercolor and the Société des Arts Graphiques.
In 1944, with H.O. McCurry, A.Y. Jackson and Arthur Lismer, Masson adjudicated an exhibition of war art held at the National Gallery of Canada. He also exhibited his paintings at the Yale University Art Gallery in New Haven and the Fine Arts Museum of Rio de Janeiro, Brazil. Still in 1944, The National Film Board discussed Henri Masson and his art in a documentary film. He was elected president of the Ottawa branch of the Federation of Canadian Artists in 1945. Masson taught at Queen’s University Summer School in Kingston from 1948 to 1952. He returned to Europe in 1952 for the first time, visiting his hometown in Belgium.
In the summer of 1954, he taught at the Banff School of Fine Arts and in 1955 he was granted an Honorary Doctor of Laws Degree from Assomption College in Windsor, Ontario. That same year he taught at the Kingsmere Summer Festival along with A.Y. Jackson. His painting, “Logs on the Gatineau River,” was reproduced for the cover of the Canadian Geographical Journal.
Masson returned to Europe in 1957, this time travelling in Italy, France and Belgium. From 1960 to 1963 he taught summer courses at the Doon School of Fine Arts. He illustrated an article on the quiet revolution in Quebec, “Quebec in Revolt,” that was published in Fortune Magazine.
In 1973 Masson travelled to the Soviet Union. In 1975 he participated in an hour-long radio interview at Radio-Canada. He travelled to the Orient in 1976: Japan, Taiwan, Malaysia, Thailand and Hong Kong. In 1979 the municipality of Sainte-Catherine d’Alexandrie honored Masson, naming a street after him. In 1980 Masson took part in Radio-Canada’s television program “Rencontres,” and as part of the L’Atelier series, he was also interviewed by Naim Kattan of Radio-Canada FM.
Masson was a member of:
the Canadian Group of Painters the Canadian Society of Painters in Watercolor the Canadian Society of Graphic Arts the Federation of Canadian Artist
Masson is first and foremost a landscape artist. He paints from nature; trees, villages, the sea, lighthouses and small boats. It is easy to see from his work that Masson liked old houses and street scenes. He did not look for the spectacular but for local neighborhoods and back yards. He was particularly interested in French Canadian history. Although Masson painted European landscapes, he was essentially a Canadian who painted landscapes depicting the Ottawa region, Gatineau and especially the province of Quebec: Gaspé, Charlevoix (notably Baie St. Paul), the Eastern Townships and the Laurentians.
Masson sketched outdoors, always conscious of the purity and light of the diverse tones in nature. These sketches were the starting point for the paintings completed in his studio. His sensitivity, his expertise and his love of nature and humanity transformed everything he touched. Under his agile brush even the most mundane subjects became exciting. In 1940 the art critic Marious Barbeau noted that the artist was interested in the inhabitants of the countryside that he explored, preferring scenes where people were at work or at play. He described Masson as a chronicler and a landscapist. In the eyes of many critics Masson was the perfect artist, reflecting all the qualities attributed to Canadians in his art.
In the 1940s critics extolled Masson’s realism, the intensity of his color and his gift for satire. The critic P. Gélinas, writing in Le Jour, congratulated Masson for not following the current fashion in art, developing his own vision rather than choosing a middle ground between cubism and surrealism. He also noted that Masson had a sense of luminosity, an understanding of the drama of autumn, the tragedy of the wind and the indefinable mystery of light. In the eyes of the critics Masson was one of the best watercolorists in the country.
Masson gave to everything he touched a dynamic and vigorous force. His paintings, often joyful, are richly descriptive and his sharp eye for detail is reflected in whichever medium he uses. By 1943 Masson was at the height of his talent. He drew the attention of his viewers through the color and movement in his work. He used bold colors brilliantly and with obvious pleasure. Nevertheless, there is a subtlety to his art. The uniqueness of his composition emphasizes the artist’s individuality to the point that critics are inevitably taken by the overall excellence of his paintings.
In the course of numerous discussions about his work, Masson said of his paintings that with experience his paintings changed and evolved with the passing years. This happened slowly, almost imperceptibly. When he was painting during the years 1945, 1946 and 1947 he said that he used colors that were more somber, and that his work was more graphic, his paintings more austere. He also said that he painted subjects that allowed him to display his understanding and personal vision.