Après avoir étudié à l’École des beaux-arts de Québec, il part en France en 1955, où il vit et expose ses oeuvres jusqu’en 1971. De retour au Québec, il s’installe à Montréal, puis enseigne à l’U. d’Ottawa à partir de 1972. Son évolution en tant que peintre est des plus surprenantes, car chacune de ses périodes artistiques témoigne de sa virtuosité et de son originalité.
Alleyn commence par une période de figuration stylisée (1952-1962), pendant laquelle ses oeuvres tachistes ou gestuelles font preuve d’élégance et de fluidité. Puis, il fait une incursion dans la mythologie autochtone en créant des oeuvres qui s’en inspirent, avant de s’engager dans une série de portraits schématiques inspirés de la science-fiction, de la médecine déshumanisée et d’autres effrayants « zooms, conditionnements et agressions ». Continue reading →
When Hubert Tison studied at the École des Beaux- Arts de Montreal , he received his training of artists such as Albert Dumouchel and André Jasmin . In the 60s , after studying in Zurich, London and Paris , he returned to Montreal where he worked at Radio- Canada to make animated graphics for generic programs . He founded the Animation Studio of the CBC , which won several awards and international recognition. He has produced all the films of the famous Frédéric Back , two of which will win an Oscar. Since 2005 , he practiced painting and exhibited in the gallery. Graduate of the Ecole des Beaux- Arts de Montreal , student Albert Dumouchel for engraving and André Jasmin for painting. Fellow Council, he continued his studies for three years in Zurich, London , and Paris . Returning to Montreal , he offers his services to the CBC as a specialist of motion design. He is a Member of the Royal Canadian Academy of Arts ( RCA ) . He established and directs the Animation Studio of the CBC , which has won numerous awards and international recognition. He is the producer and complicit all movies Frédéric Back , crowned with four nominations including two Oscars by the Academy of Motions and Pictures .
Since 2005 , Hubert Tison made the leap , he chose to fulfill his dream , to leave room for painting. Movement and transparency are very present in what he calls his ” inner landscapes “. I like to let myself be surprised by impressions, color and rhythms that inspire my artworks. I also like the risk to question everything , it is the breath of inspiration.
Paintings of Hubert Tison are primarily a poetic transposition of emotions that leaves grow on the canvas.
Born in France , Marie- Angèle Breitner studied at the Ecole des Métiers d’ Arts de Paris . She moved to Canada in 1970 where she began a notable career in film as chief makeup artist. It belongs to the first Quebec film productions , and participates actively in its development. She has worked in more than one hundred films in Canada from other Kamouraska, My Life in Cinemascope , A Sunday in Kigali and abroad . She has received numerous awards and recognitions in the world of cinema.
Alongside his career is by painting it develops a more intimate art, an art that belongs to him. She draws her inspiration from her many travels . Urban space greatly influences his paintings She loves textures, a landmark reference connected to his job. It uses textures , material to create depth , space and light.
His paintings reflect his sensitivity and his ability to translate on canvas the emotions she leaves grow in it.
Marcel Barbeau was born in Montreal on February 18th, 1925. Between 1942 and 1947, he studied painting and sculpture with Paul-Emile Borduas at the Ecole du Meuble in Montréal, where he was a student in furniture design. At that time and until 1953, he regularly visited his master’s studio where he met other young artists and intellectuals, all members of the Automatistes. As a member of that major Canadian contemporary art movement, he participated in all exhibitions featuring the group and signed its manifesto,”Total refusal”. Some art historians consider that he was and remains its most innovative artist. He also was a junior member of Montreal Society of Contemporary Art with which he exhibited between 1945 to 1948.
From 1958 to 1974 and 1991 to 1996, he lived and worked in the United States and in Europe. Visiting New York (1951) and San Francisco (1957), he met with some artists from the Abstract Expressionists movement and the Pacific School. In Paris, he met again with Fernand Leduc from the Automatists’ group and he associated with minimalist and cinetic artists from Galerie Iris Clert where he exhibited. Among these artists, Lucio Fontana signed an introduction for his one-man show catalogue at Iris Clert gallery. In New York, Barbeau consorted with members of the french cinetic movement, GRAV (Groupe de recherche d’art visuel), and exhibited with the American op art school throughout the United States. After his retrospective show at the Winnipeg Art Gallery in 1969, he spent a year in Southern California where he created photography and sculpture projects. While living in France between 1971 and 1974, he started his major series of monumental sculptures and did his first performances. Since then, he shares his time between painting and sculpture. In 1991, he returned to Paris where he then worked for a few months, annually until the spring of 1996. In the fall of that year, he established himself in Bagnolet, a Paris suburb, continuing to visit Canada each summer.
Mainly known as a painter, he has been involved in most visual art Media: drawing, sculpture, print, photography and performance. He has created many monumental works. His art has been exhibited in Canada, in the United States, in Europe and in Northern Africa where he had many one man shows. He has also participated in several international exhibitions. His works have been widely commented on in newspapers, magazines, catalogues and art books published in Canada, France and United States and in a fully illustrated monography, Marcel Barbeau: Fugato/ Le regard en fugue, published by CECA (Montréal, 1991), and in France at the Cercle d’art (Paris, 1994). He was also the subject of a few art films and videos among which renown film maker Manon Barbeau’s Barbeau “Libre comme l’art”. This was a 49 minutes film on his work and career co-produced by Informaction and National Film Board of Canada (2000).
In 1963, he received the Zack Purchase Prize from the Royal Canadian Academy. In 1973, he was given a Lynch-Staunton Foundation Grant by Canada Council. In 1985, he was awarded the sculpture purchase award of the McDonald Canada Art Competition. He was invited to join the Royal Canadian Academy of Arts in August 1992. In 1995, he received the Order of Canada as an officer(?). In 1998, Canada Post reproduced one of his works on a stamp as part of its series in honor of the automatist painters, signatories of the manifesto Total refusal. He was the special guest artist at the 2003 Montreal Jazz Festival which published a limited numbered print, Django Blue, on this occasion.
His works are in many private, public and corporate collections in Canada, in the United States and in Europe among which are: the Art Gallery of Ontario (Toronto), the British Museum (London), the Chrysler Art Gallery (Norfolk, Virginia), the Lyon Museum of Fine Arts (Lyon, France), the National Gallery of Canada ( Ottawa), the Montreal Museum of Fine Arts (Montreal), the Montreal Museum of Contemporary Art (Montreal), Quebec National Fine Arts Museum (Quebec), the Rose Art Museum,(Waltham, N.J.) and the Stedelijk Museum (Amsterdam).
Léo Ayotte was born in a family of modest means, he began his studies at the College Séraphique and at Trois-Rivières Seminary, and finally, in Nicolet. He abandoned his studies at the end of his rhetoric and began to compose poems and paint.
In 1938, Ayotte moved to Montreal and worked as a model at the École des Beaux-Arts de Montréal and the Montreal Museum of Fine Arts. Not being registered, Ayotte could not follow the lessons, but his work there as a model and as a janitor allowed him to listen in on classes. Without money, he also picked up the half-empty tubes left by careless students and used them to paint. The director Maillard told him later after he saw one of his paintings: “You are my best student.”
Through his art career and lectures, Ayott was able to save enough money to fulfil his dream of visiting France. In July 1962, he went to visit the Louvre Museum, which moved him to tears. He visited his friend François Hertel and Robert Roussil, a sculptor, and the painter Jean Dallaire. He ended his trip on the French Riviera where he spent a lot of time painting with his niece, Louise-Helene Ayotte, who has just been awarded the Consul of France at the Ecole des Beaux-Arts.
After a year in France, he returned to Canada, where he participated in numerous exhibitions throughout Quebec until 1975. Suffering from cancer, he was transported on December 18, 1976 to the Hospital of Saint-Hyacinthe where he died three days later on December 21, 1976.
Ayotte began writing and doing landscape sketches at an early age. His love of nature brought him to painting. Mostly self-taught, he had a unique style. Ayotte often used a single brush to achieve a work. From a single stroke and with spontaneity Ayotte always achieved a successful painting with his first attempt, never having to make corrections or touch-ups.Except for his portraits, he painted without preliminary drawings, taking the time to make observations before starting to paint. The bold and lively colors that emerged from his brush captured the essence of his subjects. His colorful landscapes are real hymns to nature. His still lifes and portraits, charged with emotion, led him to be considered a major artist in Quebec.