Adam Sherriff Scott was born in Perth, Scotland in 1887. He studied art at the Edinburgh School of Art and immigrated to Canada in 1911 or 1912. He died in Montreal, Quebec in 1980.
He was a portrait painter as well as a landscape artist, but is best-known for his series of historical paintings of Canada, which he executed for Canadian Pacific, Royal Bank, and for the Public Archives of Canada.
He produced oil paintings about Champlain and painted self-portraits and Inuit portraits. He also received a commission for the Royal Bank of Canada in commemoration of the centenary of transatlantic steam navigation.
Adam Sherriff Scott produced paintings, prints, engraving, lithograph and watercolours.
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.
Jean Paul Riopelle, painter, sculptor and engraver (b at Montréal 7 Oct 1923, d at Île-aux-Grues, Qué Mar 12 2002). He trained under two completely different masters: the academic painter Henri Bisson, who considered even the Impressionists a bit too extreme, and Paul-Émile BORDUAS, who was totally immersed in the avant-garde and surrealist movements. Borduas eventually won him over, and Riopelle joined the AUTOMATISTES school, exhibited with them in Montréal in 1946 and 1947, and in 1948 signed the REFUS GLOBAL (worldwide refusal) manifesto.However, Riopelle’s heart remained in Paris, where he finally settled. It was there that he found his vision, which he referred to as a controlled hazard. In Paris he was briefly associated with the surrealists and was the only Canadian to exhibit with them in 1947. In the end, however, he found that he had more of an affinity with what was known as the Lyrical Abstraction group. The 1950s were devoted to Paris (the critic Georges Duthuit took an interest in his work) and the Americas (the biennial exhibitions in São Paulo in 1951 and 1955, the Younger European Painters exhibition at the Guggenheim in 1953, the International Exhibitions in Pittsburgh in 1958 and 1961). This was also the period of his “grand mosaics,” paintings created using a spatula from multicoloured elements juxtaposed in a manner that recalls a landscape viewed from an airplane.
During the 1960s Riopelle diversified his means of expression, turning also to ink on paper, watercolours, lithography, collage and oils. He also began taking more risks in his painting, as if he were seeking to undo his past successes in order to explore new avenues. His paintings became more chaotic and more matierist, with Riopelle demanding of his materials that they free him of form, his own form. The large painting Point de rencontre (Point of Intersection) (1963), which was intended for the Toronto airport but is now at the Opéra Bastille in Paris, is the masterpiece from this period.
Beginning in 1969, Riopelle completed several sculptures, including the fountain in Montréal’s Olympic Stadium, which is called La joute (The Match) in honour of the hockey players who were his childhood sports heroes. In painting, he started the Hiboux (Owls) series, and at the same time developed an interest in Inuit string figures. In 1972, after the death of his mother, he returned to Québec and built a studio at Sainte-Marguerite-du-Lac-Masson in the Laurentians. A trip to the Great North introduced him to unfamiliar black and white landscapes, resulting in the Icebergs series.
It is often said of Riopelle that he “returned to figures” in the 1980s, but it could also be said that he never really left them. He started the Oies blanches series on white geese, great migrators like Riopelle himself. At the same time, he abandoned traditional painting methods in favour of aerosol spray cans and often created works of art that resembled photographic negatives; that is to say, he projected his colour of choice onto an object that he then withdrew in a way that left only a negative impression of form on the canvas. His Hommage à Rosa Luxemburg (1992), which now hangs in the Hull Casino, marks the high point of this period and is considered to be Riopelle’s artistic legacy. It is also a tribute to love, to the American painter Joan Mitchell who was his companion for 25 years. In 1981 he was the first signatory of the Refus Global manifesto to be awarded the prestigious Paul-Émile Borduas prize. Riopelle established his studios at Estérel, but he lived out his last years at Île-aux-Grues, upriver from Québec.
Réjane was born February 24, 1933 in St-Tite in the Mauricie . Self-taught, she began painting in 1968. Sanchangrin has a sensitivity and discretion that demonstrates a work inspired by a world of subtlety. She painted portraits with a wispy contact glance, or even the style of a garment, she reveals the mood of the painting. Its floral still life shows the same technique as in the palette that you find in the picture. Réjane Sanchagrin always touches very physically and morally. Having seen so many emotions in the eyes of patients ( she was a nurse in the art ) , Réjeanne Sanchagrin showed his paintings the years she spent in the hospital sector . If every detail of his work expresses a specific emotion , the complete work is mainly inspired by the human mind. The last years of his life, Réjane Sanschagrin dedicated only to painting.
Réjane Sanchagrin was born on Feburary 24, 1933 in St-Tite, Mauricie. Self-Taught, she started painting in 1968. An aura of sensibility and discretion is rising from her work inspired by a work inspired by a world of subtlety. She paints portraits with a vaporous touch of glance, or even by the style of a garment, she reveals the mood of the painting. Her floral still life shows the same technique and palette that you will find in the portrait. Réjane Sanschagrin is still very touched in front of physically and morally disable people and also in front of the helplessness of young people. By having seen so many emotions in the eyes of the patients threw the years in hospital areas, many of these emotions are still present. She abandons the emotions that she captivates from the others on her canvas. If each of her work translates a precise emotion, the overall work is essentially inspired by the human spirit. Since the last five years, Réjane Sanschagrin has done only paintings. Near the sixties, she brings richness to the time that passes by. By defining the existence of all artist as being a succession of passion and anguishes, she affirms the necessity of letting things live after us. – She died in 2008
Born in Montreal in 1949, Gérard Dansereau has a love for Color, forms and texture. He invites us in a very particular world that is his own. His work is made of styled animals with a familiar expression that brings them near human expressions. Illustrator, he has work in editing, publicity and he has also taught graphic arts at Ahuntsic College.
Gérard Dansereau received numerous illustration and graphic arts prizes notably the prestigious Coq D’or of Publicity-Club for the sign Hergé à Montréal. He created a special pin for the astronaut Julie Payette for her first flight in space. We can find Dansereau’s paintings in Quebec, in Toronto, in Mexico and the U-S.
Gérard Dansereau has received several awards and his works stand out as contemporary yet joyous and lively. His feline creation called Kat Mandou is a recurring presence along with a string of animal characters.
Whether abstract or figurative, his paintings are prized by several collectors worldwide. Who is he? A man in love with color and tranparency. Gérard Dansereau is a painter who uses his instinct for pure pleasure in order to create works of art with a touch of humor, poetry and the joy of living. For the last few years, he has devoted most of his time to painting. Thanks to his exploration of several artistic disciplines, his work is a vibrant mixture of harmonies.
What has he done? He has earned a bachelor’s degree in graphic design, he worked for several years in the fields of publicity and publishing as a graphic artist and an illustrator.
What he beleives in His humanist values mean that the social dimension of art has always been a prime concern of his. He was involved with Amnesty international on the design of a poster which was used worldwide. His work has also been used in the promotion of children’s rights.
His artistic journey Gerard Dansereau started in 1970; he was influenced by the american «pop-art» movement. His works have long been enhanced by the use of typographic and historic elements and he often uses mixed mediums such as collage, ink and pencil.
His love of alley cats may have lead to his creation of Kat Mandou who is a recurring presence in several paintings along with a string of animal characters. is artistic journey Gerard Dansereau started in 1970; he was influenced by the american «pop-art» movement. His works have long been enhanced by the use of typographic and historic elements and he often uses mixed mediums such as collage, ink and pencil.
His love of alley cats may have lead to his creation of Kat Mandou who is a recurring presence in several paintings along with a string of animal characters. Latest news Gérard is always evolving but still very contemporary and he manages to redefine himself while still expressing strenght and the same intensity with colors.
His latest paintings show energy and assurance; but where is Kat Mandou? Good question. His best shots He has received several awards for his work as an illustrator and a graphic artist, one of them given by the Publicity Club of Montreal for his poster « Hergé à Montréal ».
His work even went in orbit! That started when astronaut Julie Payette bought one of his paintings and later asked him to design the personnal emblem which she would be wearing on her mission aboard the NASA space shuttle. We love him! Yes, you can fall in love with Dansereau. His paintings can be abstract or figurative but they share the love of collectors worldwide.
He can touch a vast array of individuals with a wide range of formal knowledge yet he remains loyal to his creed and to his spirit.
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
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.
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 .
Louis Muhlstock was born in Narajow, Poland. In 1911, his family moved to Canada and settled in Montreal, Quebec. While studying at Montreal High School, he attended evening classes at Council of Arts and Manufacturers under Edmond Dyonnet and Joseph St-Charles. Following his graduation from high school, he studied at the Art Association of Montreal under William Brymner. When the AAM closed in 1923, he attended the evening classes of the Royal Canadian Academy (given at the AAM) under George H. Russell, Charles Simpson, Albert H. Robinson, Maurice Cullen and Edmond Dyonnet. In 1925, on his first submission for an exhibition, one of his works was accepted at the Royal Canadian Academy exhibition. From 1926 to 1927, he enrolled at École des Beaux-Arts de Montréal and took classes under F. Charpentier. In 1928 he went to France where he furthered his studies at the studio of Louis-François Biloul until 1931. While in France, he also frequented the Académie de la Grande Chaumière and exhibited works at the Salon de la Société des Artistes Français in Paris. His summers were spent sketching in the French provinces and in Belgium, and visiting museums.
When Muhlstock returned to Montreal in 1931, the great depression was well underway. He frequented Fletcher’s Field, an open area in Montreal, where he sketched and drew the unemployed lying asleep on the grass or sitting staring morosely into space. Because of his work’s social content and his profound humanity, he came to be known as an artist of “proletarian significance”. In 1932, he held his first solo show at the Montreal Arts Club. That same year he also exhibited in various group shows including a show at the National Gallery of Canada, the Ontario Society of Artists exhibition at the Art Gallery of Toronto, the Spring Exhibition of the Art Association of Montreal, the Canadian National Exhibition and the Royal Canadian Academy show. His work began to attract great interest, his drawings and nudes being recognized as an important part of his corpus, but he also received high acclaim for his portraits and paintings of deserted streets and houses. In order to earn a better living, Muhlstock gave private lessons. He was later able to give up teaching when he began to earn sufficient money with his art. In 1935, he became friends with other Montreal artists such as Jori Smith, Jean Palardy, Marion Scott and Fritz Brandtner, artists with whom he would he later form the Contemporary Art Society (1939) with the help of John Lyman. That same year, he also exhibited seventy drawings during a one-man show at the Art Association of Montreal.
In 1936, Muhlstock took a studio on Ste. Famille Street in Montreal. That year his work was exhibited at the T. Eaton Galleries in Montreal and at the Loan Society in Toronto, where he exhibited again in 1937, 1938, 1939 and 1942. In 1937, he was elected a member of the Canadian Society of Graphic Art and the following year he became a member of the Canadian Group of Painters. In 1939 he took part in the Four Artists’ Exhibition at the Art Gallery of Toronto along side Henri Masson, André Biéler and Philip Surrey. In 1941 he participated at the Kingston Conference and became an active member of the Federation of Canadian Artists, thus helping Canadian artists take part to the War efforts. Starting in 1943, Muhlstock and Fritz Brandtner frequented the old port of Montreal where they sketched the factory workers of the Canadian Vickers, the United Shipyards and the Defence Industries limited. They later showed their works at the National Gallery of Canada during the two-man show Exhibition of Works in Canadian War Plants by Fritz Brandtner and Louis Muhlstock.
From the mid-forties to the late 1950’s, Muhlstock painted and exhibited at many major venues in Canada and abroad such as Yale University Art Gallery, New Haven, CT (1944), the National Gallery of Canada (1945, 1949-1950), Graphic Arts Society exhibition in Sao Paolo, Brazil (1946), Musée d’Art Moderne in Paris (1946), Musée National des Beaux-Arts du Québec (1948, along with Jean Dallaire, Franklin Arbuckle and others), the Boston Museum of Fine Arts, Boston, MA (1949), Vancouver Art Gallery (1950), National Gallery of Art, Washigton, DC (1950), Montreal Museum of Fine Arts (1952), Exposition Internationale, Lugano, Switzerland (1954) and at the International Exhibition, Carnegie Institute, Pittsburg, PA (1955).
In 1959, Muhlstock bought a house on Ste. Famille Street, not too far from where his first studio was, and held a one-man show of his works at the Montreal Museum of Fine Arts. In 1961, he participated in the Biennial of Canadian Painting held at the National Gallery of Canada and the following year held another one-man show at the Montreal Museum of Fine Arts.
Over the course of the next decades, Muhlstock kept painting and exhibiting in a variety of places such as the Centre Culturel de la Ville de Verdun (1972, 1994) National Gallery of Canada (1975, 1989), Art Gallery of Windsor (1976), Musée d’Art Contemporain de Montréal (1976), Art Gallery of Ontario, Toronto (1977), Edmonton Art Gallery (1978, 1980, 1988), Place des Arts, Montreal (1978, 1987), Musée des Beaux-Arts de Sherbrooke (1986), Saidye-Bronfman Centre, Montreal (1987, 1989), Bishop’s University, Lennoxville (1990, 1993), Musée Marc-Aurèle Fortin, Montreal (1993) and others. In 1978, Muhlstock received an Honorary Doctorate from Concordia University and he was also honoured in 1990 by the Society of the Jewish People’s Schools & Peretz Schools. He was made an Officer of the Order of Canada in 1991 and held a one-man show at the opening of the Loto-Québec gallery in Montreal that same year. In 1995, the Musée National des Beaux-Arts du Québec organised a major retrospective show and in 1998, he was made Chevalier de l’Ordre du Québec. He died in Montreal at the age of 97.
All are born in the eye of the painter , springing one day from her imagination and memory – men and women , mothers and children . Dressed in old-fashioned clothes , they have no real place in the present time , no real faces other than those the artist has given them . Immobile, serene and sometimes shy , how many of them watch for the least sign of the outside world , perhaps in order to turn away from it ? Ingenius and timid , do they call out to us from their world of secret silences ? For the last 30 years Raymonde Duchesne has invented her « people, » granting them in their daily lives a loving expression perfumed with candour and nostalgia . Through many a gesture of tenderness , patience and renuntiation , and musing , she has set to canvas her own journey thought life , strewn with joys and sorrows , both large and small . Such is her work . A precious chronology in image and text , the milestones of the journey , this book , her first , resembles a family album , that of a family gravitating around the image of the mother , of all mothers, of hers in particular . Thus , one by one , genre scenes slip out from the pages . In style and in spirit they continue the heritage of the « human style-lifes » of Modigliani , The flattened perspectives of Matisse , or , still yet , the enigmatic portraits of Lemieux . None the less , through this simple figuration impregnated with a gentle naivete , each painting transforms the anecdote into a scene of emotions .
Look carefully . Life slips away , intensifies . The muffled-up and static figures of the beginning , so often isolated and confined , are slowly liberated . Their presences , in an unspecified time , becomes more precise as they develop complicity . Their forms become rounder , more « sensuel, » and brighter in contact with colour and flowery exteriors , increasingly present . Crumpled letters , cages birds ,and dolls serve as symbols to be interpreted . Nicole Allard Historienne de l’art