Created his first works in the mid-1970s, and found himself following in the footsteps of his grandfather, who had created art by tinkering with all kinds of materials.
Began sculpting for fun while staying with his cousin, whose studio adjoined his bedroom.
Accumulated pieces until he worked up the courage to take them to be sold by an antiques dealer near Quebec City.
Has sculpted many fantastic works inspired by nature, although large cities remain an important source of inspiration.
“I began to draw with my mother before elementary school. At the age of 10,
I won a drawing competition. My drawing came from my imagination, and everyone else drew reproductions. I made my first sculpture at 24. When you’re young, however, you don’t really know what you’re doing. Folk art is more philosophical than technical. And I think that you need a certain amount of life experience to be able to sculpt.”
“All my life I’ve rubbed elbows with hard science. What I find incredible about folk art is that if you feel like making a cat that doesn’t really look like a cat, it’s no big deal! You’ve got the scope to create, you aren’t limited to a specific style — you’ve got all the freedom you want. I don’t want limitations. I don’t want to be hemmed in. I don’t want to feel that I have to arrive at this or that result.”
“Folk art is simple and straightforward, just as life should be. Appreciating folk art means accepting that things are actually quite simple. Appreciating folk art also means accepting imperfection and coming to love it. It’s time folk art was recognized, as its name suggests, as a populist art form, equal to any other type of art: you either like it or you don’t. What I like best about folk art is that I have the right to make mistakes. All of us are tasked with encouraging change through our artistic creations and achievements.”
Sharing My Memories
“When I shape a figure or an animal, I take care, first and foremost, to give them a soul. Shaping a work of art is, for me, an intimate activity. I would be unable to create whatever-it-is in front of others. When I’m alone in my windowless studio, I’m alone with myself; I delve into my own memories and discover some wonderful things. And this is what I express with my hands — I share my experiences. At home, surrounded by my creations, I feel like I’m living with an entire gang. That must be why I don’t really feel the need to be with other people all the time.”
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.
Arthur Villeneuve, C.M. (January 4, 1910, Chicoutimi, Quebec – May 24, 1990, Montreal, Quebec) was a Québécois painter and member of the Order of Canada Villeneuve was raised in a working class family in Chicoutimi. His father was a mason, bricklayer, and church choir member. Among his brothers there was a shoesmith turned blacksmith, a locomotive engineer, and an upholsterer. After leaving school at the age of fourteen, Villeneuve was hired in a paper mill. When he was sixteen he took a winter job as a “chore-boy” in a camp, work which did not hold his interest for long. Finally, in the same year, Villeneuve settled on a career when he became a barber’s apprentice. By nineteen years of age Villeneuve had already purchased his first barber shop, the Salon Champlain on rue Sainte-Anne in Chicoutimi. Within three years his business was flourishing and he was secure enough financially to buy two rental properties. He soon sold these in order to buy a restaurant, but all the while maintaining control of, and working long hours at, his salon. These years of prosperity ended abruptly in 1944 with the death of Villeneuve’s first wife, Simone Bouchard, and the loss of his properties. He became a barber at Hôtel-Dieu Hospital in Chicoutimi. Meanwhile, he remarried: his second and last wife was a woman from Rimouski named Hélène Morin. In total Villeneuve had seven children, four with Simone and three with Hélène. The nine Villeneuves lived in their modest sized house at 669 rue Taché, Chicoutimi, beginning in 1950. The House of Arthur Villeneuve Early in his second marriage Arthur began experimenting with drawing, collages, and sheet metal sculptures. Among these last there remains an elaborate clock, a ship and a lighthouse, each of which images would become prominent themes in his later platte peinture. But his most famous early work is the house he bought at 669 rue Taché which he nearly completely covered, inside and out, with his first paintings. This sudden urgency on Arthur’s behalf to become an artist was attributed by him to a revelation he had in 1946. This decisive moment occurred during the homily at Sunday mass, in which the priest quoted from a letter of Pope Pius XII. The purpose of the letter was to exhort the faithful to make full use of their talents. Arthur believed that he had, until then, left his artistic ability untouched, and returned home to set about developing his gift. Arthur began painting frescoes on the outside of his house in April, 1957. Still working as a barber, he painted 100 hours per week for 23 months, until he had covered the front facade, the rear, all the interior walls and ceilings, and even the windows of his house. Because he was entirely self-taught and completely out of contact with his contemporaries in the painting world, Arthur was and is classed among those who practiced naive art or primitive art.
Curious by nature and gifted with a good sense of observation, he made provision of perspectives, topics and images as sources of inspiration. He took many liberties in the representation of natural and urban landscapes, but he also mixed ages. He painted what he felt, first and foremost.
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.
Le point de départ du travail de collaboration Chabot/Ste-Marie est la saisie numérique du sujet qu’ils veulent traiter. Ces images recadrées et rehaussées vont constituer la banque dans laquelle puisera un logiciel, KaléidoScope, qu’ils ont développé selon leurs besoins et qui permet de combiner des images par superposition, transparence, diffusion, dispersion, au moyen de balayages successifs.
Le rôle que Chabot/Ste-Marie confient à l’ordinateur est de leur présenter de façon aléatoire des images combinées et transformées selon des règles établies par eux mais dont le nombre de possibilités est sans commune mesure avec ce qu’ils pourraient expérimenter s’ils devaient eux-mêmes faire le choix des images à combiner et fixer les différents paramètres des transformations multiples attendues.
De plus, la présentation à l’écran d’une image en continuelle mutation crée un effet de surprise qui capte constamment leur attention et aide à saisir au vol et enregistrer les images les plus intéressantes, significatives, émouvantes. Un visionnement d’une heure peut aboutir à la “cueillette” d’une centaine d’images qui, une fois analysées et soumises à un choix commun, seront ramenées à une ou deux et ajoutées à la collection des images retenues.
C’est en revisionnant ces images que Chabot/Ste-Marie font le choix “définitif” qui les mène à la production d’œuvres sous diverses formes: estampes numériques, médias mixtes sur toile, œuvre vidéonumériques et tout dernièrement projection d’œuvres vidéonumériques sur des tableaux de grande dimension. Dans ce dernier cas, le tableau et l’œuvre vidéo existent par et pour eux-même mais l’interaction entre la lumière polychrome et changeante de la projection et la surface colorée du tableau crée des effets saisissants de textures, de relief et de profondeur qui leur fait entrer dans un nouvel espace, dans un autre monde.
Artiste peintre et illustratrice, le bagage artistique de Joanne Ouellet suppose un voyage au long cours : de l’univers amérindien au monde de l’enfance. Curieusement, les animaux ont toujours fait partie du périple. Les œuvres de Ouellet s’inspirent de la nature, de ce qui fait le bonheur de l’œil. Ses illustrations lui ont valu, en 1981, le Prix de littérature jeunesse décerné par le Conseil des Arts du Canada. En marge de sa production artistique, Joanne Ouellet donne des cours d’illustration à l’École des Arts visuels de l’Université Laval. Elle rencontre aussi des jeunes pour leur parler de son fascinant métier. Joanne Ouellet en profite alors pour leur montrer quelques livres parmi la centaine qu’elle a illustrée.