She was born in Sillery in 1956, very young , she is already showing an interest in exploring the world around him . She believes that the education she has received and the models she had participated in establishing the ability to wonder and openness, essential qualities for a painter.
• Diploma in Commercial Design , School of Rochebelle , Sainte -Foy. (1976 )
• Bachelor of Fine Arts , University Laval , Quebec. (2001 )
Before devoting all his time to the creation of visual arts, she has accumulated various work experiences. Ranging from retail to technical drawing, through administrative tasks.
In 1984 , she took an evening course to acquire technical training in watercolor . From that moment, all his spare time is devoted to the creation of visual arts. Slowly, she began to consider the possibility of doing his job.
Opportunity to present his paintings to the public occurred early. A first professional gallery solicits before the end of his degree.
In 1999 and 2000 , it has the chance to join the team at the International Symposium of Painting Baie Saint- Paul . This experience helped her realize the importance of the role of the artist in society.
It considers the impact of a work is indebted largely to its coherence. This close relationship between the elements listed as meaningful , as well as the Lifetime Achievement in an artistic approach . This orientation requires prospecting work is being done at all levels of creation.
By leveraging its sensitivity as well as its technical expertise, it uses drawing as the raw material. Then all actions are conditioned by seeking harmonization of the various components of the table.
Francesco Iacurto was born on September 1st in 1908, Montréal. From 1922 to 1929, he studied at Monument national des arts et métier, then École des beaux-arts in Montréal (magna cum laude diploma). 1928 : Académie Colarossi and Académie Grande-Chaumière, Paris.
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.
Jean-Paul Jérôme was born in Montreal on February 19, 1928 and, well before he entered grade school, the native gifts that were to sustain his deep and lifelong commitment to drawing and painting were already made obvious.
Such endowments led him to the Montreal School of Fine Arts where, from 1945 to 1952, he studied, as part of the regular curriculum, the art and technique of fresco painting, under the direction of Stanley Cosgrove.
Then, after a short period of time during which he dedicated himself to landscapes and still lives, mostly after the cubist way, in as early as 1953, he shifted towards abstract painting, letting large swaths of evenly brushed paint drift on his canvas.
His approach to art thus evolved more and more out of geometrical concepts, the reproductive outcome of which prompted his creation towards ambiances brought about by an absolute formal mastery.
In 1955, along with three painters of his friends – Jauran (Rodolphe de Repemtigny, Louis Belzile and Fernand Toupin- he founded the Plasticien Movement who published their Manifesto in February of the same year, the guidelines of which, based on Cézanne’s and Mondrian’s, were to bear such an influence as to the face of Quebec art.
From 1956 to 1958, in order to further his creativity, he lives in Paris, where he meets Giacometti and Vasarelly and share with René Mortensen a common passion for achieving a perfect harmony between shapes and colours. He also make friends with sculptor Gilioli and Hans Hartung and associates with Martin Barré’S studio while attending on a regular basis Galerie de France’s and Galerie Arnaud’s artistic dealings and exhibitions, beside having his own paintings exhibited at the latter Galery in the fall of 1957.
After he returned to Canada in November 1958, he was admitted as a teacher by the Montreal School of Fines Arts and by the Montreal and Sorel school boards, where students also benefitted from his art, knowledge and craftsmanship.
In 1973, he quits teaching and devotes himself entirely to his art, following a creative urge that compels him to house his studio in the south shore countryside of the St- Laurence river, in St-Ours sur le Richelieu, St-Laurent du Fleuve, St-Roch and Varennes, among others.
Three years later, without giving up the lyricism of those open spaces, he buys the family home to provide steadier quarters for himself and he converts one of the floors into a loft totally dedicated to his work, where everything is conductive to creation, a studio to which a second on will be added, The Sunny Den, as the painter will name it, a workshop to give him the opportunity to raise his expertise to higher levels still and increase the span and scope of his paintings.
From then on, his paintings stand out among those experts and collectors, whether insiders or from the general public, are fond of, some of them- with the certainty of a warm welcome, as it was the Jean-Paul Jérôme’s native way- coming to pay regular visits to his studio, which was open to them seven days a week, from seven in the morning to four in the afternoon.
In 1978, the Royal Canadian Arts Academy honours him by admitting him as a member, in recognition of his outstanding contribution to the arts and the underscore the great significance of the whole of his works.
Jean-Paul Jérôme has over a hundred exhibitions, either solo or collective, to his credit, in galleries and museums throughout the country. His works are also included into numerous Canadian private and public collections, whereas reports on his works have been the topic of several reviews.
In 2003, the Musée du Bas Saint-Laurent paid him a warm tribute as they displayed a retrospective exhibition of his paintings, the whole of which, in the course of the next four years, was presented throughout Canada at large.
In 2005, the Musée des Beaux Arts de Sherbrooke devoted an outstanding retrospective to the Plasticiens, to celebrate the fiftieth anniversary of their Manifesto, thus bringing out the main stages of Jean-Paul Jérôme’s works.
But he could not attend this celebration since he died in his seventy-sixth year, on August 14, 2004. But he is outlived by his works for the stand above time. A forceful and keen painter, he dedicated his entire life, up to the very last moments, to painting: “Enraptured by live” was the title he gave to his last painting, a prophetic work that sums up the whole of his works.
For, moved by both a deep passion and a steadfast commitment to his Plasticiens’ initial guidelines, Jean-Paul Jérôme was able to express himself through a variety of materials and the embody his art and sensibility in the most diverse manner: his oil and acrylic paintings rest on wood , glass, pottery, tapestry and stained-glass as well as on art papers and cardboards, among numerous other media, where he could give vent to a vast array of pastel, charcoal, red chalk and sepia drawings that ranged well beyond already high standards of his own.
His sculptures, on brass or on wood, his reliefs and his monumental concrete architectural structures proudly match his easel- and worktable-size paintings since his mastery of the most subtle processes underlying their completion was, first and foremost, rooted into the art of drawing, an art that enabled him to achieve balanced displays of shapes on his canvas, as he managed to imbue his workshop with music, reading and writing.
So much so that he left us writings of his own, in which he took pleasure to define his art and tell apart the different stages of his creation.
“I have been attracted all my life to perfect shapes, to colourful overstones”, he delighted in saying.
Before passing away, Jean-Paul Jérôme mandated the administrators of his works to care for the lasting quality of a collection in which the musical spell of colourful shapes ceaselessly brings forward in their midst such beauty that each is a joy forever.
The life of Frere Jerome (Joseph Ulrich-Aime Paradis) was not a long quiet river. Torn between a sincere vocation but early and artistic expression he considers almost visceral faith, he must make compromises sometimes choose between two possible, especially wait patiently for things and put his vision is needed very gently. The creative rebellion remained basically sweet home, but it was nevertheless clear and assured. Jerome Paradis is a man to discover. His childhood, his religious life, his artistic life are the three main facets of his personality.
Dedicating himself to art and education as it did for most of his life, Brother Jerome quickly had to develop a personal vision of creativity. Influenced by Borduas in 1940 he frequents, he advocate a profound renewal of the report of our society to the visual arts. Deeply religious, he must reconcile his desire for abstraction with intense Christian spirituality. His teaching, public workshops and inner life have influenced each other to form a coherent whole that is an essential introduction to his painting.
With more than 3,000 works preserved on canvas or paper production brother Jerome was not so marginal that we sometimes have us believe. Her artistic approach always remained consistent with its vision, its teaching and Christian religious reality. It can be understood as a painted prayer, but it also shows a sensitive artist who understands the excitement of Montreal’s cultural milieu. Jerome always remained close formalist approaches modernity that moves during the years 1950-1970. An analysis of its pictorial spirituality, a chronological presentation of its production and thematic selection of works highlight the richness of meaningful work of this seasoned performer.
A renowned folk painter, Marie-Cecile Bouchard was encouraged and guided in her work by her older sister, Simone-Mary, who showed her how to paint at 18. Like her sisters, the artist was a painter of genre scenes, traditional Québecois interiors and representations of rural life. Her work was shown in Brazil in 1945, where she was hailed as a great ‘primitive’ artist and her paintings celebrated for their unsophisticated technique and poignant, touching qualities. Collectors from all over the world acquired her canvasses. However, Marie-Cécile’s faith, evidenced by her frequent choice of religious subject matter, eventually overcame her desire to paint, and she entered the Sisters of Sainte-Antoniennes de Marie Convent in Chicoutimi in 1947. Her artistic activities ceased for 22 years until, in the last two years of her life, she made 30 copies of her own paintings. Following her death, an appeal was made to keep these copies together as a single collection.MédiasPaintingLieux de conservation des dossiers et archivesArt Gallery of Ontario – Edward P. Taylor Research Library and ArchivesMontreal Museum of Fine Arts / Musée des Beaux-Arts de Montréal, QCMusée d’art contemporain de Montréal, QC – Media CentreNational Gallery of Canada, ON – Library and ArchivesUniversity of British Columbia – Fine Arts LibraryVancouver Art Gallery, BC – LibraryMusée de Charlevoix, QCLeonard and Bina Ellen Art Gallery, QCCanadian Museum of Civilization Archives, QCCanadian Women Artists History Initiative Documentation Centre, QCBIBLIOGRAPHIE
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.McKendry, Blake. Dictionary of Folk Artists in Canada: From the 17th Century to the Present. Elginburg: Blake McKendry, 1988.McMann, Evelyn de Rostaing. Montreal Museum of Fine Arts, Formerly Art Association of Montreal: Spring Exhibitions, 1880-1970. Toronto: University of Toronto Press, 1988.Nixon, Virginia. “Gallery round-up: Humorous bronze sculptures and calm, alienated fantasy.” Gazette (Montreal) 3 May 1975: 52.Pageot, Edith-Anne. “Ambiguités de la réception critique de l’exposition ‘Canadian Women Artists’, Riverside Museum, New York, 1947.”RACAR 27.1-2 (2000): 123-34.Palardy, Jean. Peintres populaires de Charlevoix / Primitive Painters of Charlevoix. Montreal: National Film Board of Canada, 1947.Portal, Marcel. “La fille du Moulin César de Charlevoix.” Le Progrès régionale (Chicoutimi) 30 May 1973.Reference Division, McPherson Library, compilers. Creative Canada: A Biographical Dictionary of Twentieth-Century Creative and Performing Arts. Toronto: University of Toronto Press, University of Victoria, 1971.
ref.: Réseau d’étude sur l’histoire des artistes canadiennes