Yvonne Bolduc

Yvonne Bolduc
Born: 1905  |  Died: 1983

Yvonne Bolduc. Sculptor. Painter. Baie-Saint-Paul, Charlevoix County, Quebec.

Yvonne Bolduc was born and grew up in Baie-St.-Paul in Quebec’s Charlevoix County. Largely self taught; Yvonne Bolduc learned wood carving from her father, made many of her early canvases from Burlap  and most of her early paints from ‘as found’ materials including earth pigments and vegetable dyes found in the fields and gardens of the Charlevoix County country-side..

Yvonne Bolduc drew her inspiration from traditional Quebec scenes, the beautiful Charlevoix County and Quebec novels. ‘Maria Chapdelaine’ by Louis Hemon and ‘Un homme et son peche’ by Claude-Henri Grignon are among the best known influences. Yvonne Bolduc worked her images in ‘Seed Paintings” (literally sculpting the image in seeds and coloring them). And in paintings on hand made canvas (using Burlap)  using her own hand-made oils and watercolors. Mlle Bolduc also carved in wood (Eastern White Pine), creating incredibly beautiful deep relief sculptures, some up to six feet long by two feet wide. The last are some of Quebec’s finest wood carvings as you will see in the examples shown below the article.

Yvonne Bolduc is one of Quebec’s most important naive artists of the 20th century. She was multi-disciplined, multi-talented and possessed a remarkable vision in all of them. Her sister was the painter Blanche Bolduc.


Blanche Bolduc

Blanche Bolduc

Creative instinct is something that cannot be taught but comes from the heart. This is the case with Blanche Bolduc. She began painting in 1966. Until then, she was content to help her sister Yvonne with her artwork. After her first summer working, she exhibited in Quebec and Chicoutimi, and her star has been shining every since. Blanche Bolduc loves painting Quebec scenes bringing them to life with people. Her paintings move us to a secret world full of intensity. One has to admire the transparent purity of the atmosphere in her landscapes, the harmonious burst of colours, and the detail in her back-grounds. The material, colours, and subject matter give an impression of quick-wittedness with a strong personal expression. Compositions like “Le temps des fêtes” succeed in presenting intense motion on a simple canvas. Tiny silhouettes are brought to life. The backgrounds are worked like low-reliefs and increase the fine lines of these interesting compositions. The paintings of Blanche Bolduc, their composition and shades of colours, should be described with words reserved for the masterpieces of the great masters. Her canvases are executed with as much consciousness and minuteness as theirs. Sometimes an artist’s knowledge and habits are nothing more than learned formulas, routines, and recipes. Blanche Bolduc does not use these methods. Her spirit is one of a master and her paintings are the proof.

blanche bolduc naive painter galerie d'art la corniche

blanche bolduc naive painter galerie d’art la corniche

Louis-Pierre Bougie

Louis-Pierre Bougie – Galerie d’art La Corniche

Louis-Pierre Bougie was born in Trois-Rivières (Québec) in 1946. A master engraver, painter and sculptor, he has had a career spanning more than 40 years. The artist began his studies by auditing classes at the legendary École des Beaux-Arts de Montréal, and went on to train at a number of studios, notably in France, where he learned lithography at Atelier Champfleury and specialized in intaglio and etching at Lacourière et Frélaut. A founding member of the Montréal printmaking cooperative L’Atelier Circulaire, Louis-Pierre Bougie continues to contribute to the development of printmaking in Québec by welcoming emerging and internationally established artists to the studio. The recipient of many prestigious awards,  Louis-Pierre Bougie has exhibited in some fifty solo and group exhibitions both nationally and internationally. His work is included in private and public collections in Canada and abroad.

Galerie d'art La Corniche

Jean-Guy Barbeau

Native Lorettville, Jean-Guy Barbeau came to Chicoutimi in 1951. Graduated from the School of Fine Arts of Quebec, he taught art for 25 years at the Chicoutimi School Board and assumed during accrued the Université du Québec à Chicoutimi. It is a pioneer in the teaching of arts in Saguenay with Pierrette Gaudreault, founder of the Art Institute in Jonquière, while pursuing his own quest in his studio in the rue Melancon.

His work, too little known to the Quebec public, radiated from Quebec to Europe. He was the first Canadian painter to exhibit in solo in Poland in 1976, at the Contemporary Art Gallery Katowice Bwa and Hungary.

In 2008, Jean-Guy Barbeau became the first recipient of the Award for Recognition of Excellence, the highest distinction awarded by the Council of Saguenay arts to highlight the involvement of a person in the fields of arts and Culture. Jean-Guy Barbeau received the honor for his work, its importance in Québec and abroad, for its relation to the history of culture and to be a typical example of an artist who has chosen a career in Saguenay.

Emulates the great masters of painting, sensitive to the audacity of the other, the journey of this painter includes many trends, from tachisme to abstract, from Fauvism to Cubism. Explorations where he returned with a style all his own, a style that survives and echoes of future works. Barbeau’s art is timeless. The eye takes pleasure in diving into geometric compositions of his games, surfing the transparencies carefully brushed in layers, does not preclude a careful sensitivity to the major concerns of his time. Cantor woman certainly, but not only that. Some of his paintings evoke the military conflicts, human suffering; others tell our past. He is the author of an imposing wall of over 278 square meters realized for the Press House was inaugurated in 1980, which summarizes the highlights of the history of the region.

A major retrospective of his work was presented in April 2007 at the Chicoutimi Pulp. He could hear and see the love and admiration of those who were his students, his companions, his friends, all dazzled by a teacher who is not imposed on others if not his own fervor to achieve the absolute in shape and color. A work that moves us, like the man he was, well beyond the time!


John Der

John Der  (1926-1996)

John Der left us too soon, we hasten to add. An engaging man and an artist of great sensitivity. John Der often painted characters rather like himself. They are friendly giants with ham hock hands, all seemingly sketched live by a raconteur of sorts whose great talent we are only beginning to appreciate.

The artist is gone, but his work remains. John Der left us incredible number of paintings, of which many already belong to collectors attracted by his unique way of translating daily life to the canvas.


John Der created his own country fairs. He painted a kind of rural life that mixed youngsters, parishioner, animals, an habitants, in other words, a veritable fresco of types, customs and activities  representative of the likeable yet gritty world that is Quebec. The bulk of his work is somewhat reminiscent of a certain Ruben’s masterpiece exhibited at the Louvre in which the notions of movement and liberty are fully exploited.

John Der had a quality rarely found in artist here- a sense of humour! In a genre that verges on debauchery, he remains smiling and friendly. His paintings deal with daily task, occupations and pastimes which are the fruit of his observations and knowledge of the rural way of life, which may be real but remains strange to the many urbanites among us.


Der’s art stands our from the conventional, mawkish art which many Quebec painters produce, e.g. dull landscapes, insignificant still life’s, pompous characters and, in the case of abstract art, anaemic schemas. Generally speaking, our artistic milieu is too stiff, too timid, too uniform. Our society suffers from a certain moroseness which makes the Juliens, La Palmes, Hudons, Chapleaus look revolutionary. They actually laugh, criticize and enjoy themselves!


At first glance, Der’s compositions show common, larger than life figures in compact, glutinous groups. His characters are embraced, attached, grabbed. They have  real « mugs » rather than faces. Their hands are bloated; their feet, shod in clogs. These people bend their elbows, stuff their face, chew the fat… Their heads sport a shock of hair or a wig, as well as skull caps, berets, cloches, bonnets, helmets, caps and tuques. Their bodies are imposing and their gestures work with the force of gravity. Whatever the circumstances. Der’s characters appear in pastel tones that make the viewer forget the medium is oil on Masonite.


Der’s painting remind the viewer of sculptures. The influence of the sculpture likely comes from the artist’s studies with John Byers. However, Der remained a marvellous drawer for whom line structured each scene. His is a supple, sensitive, omnipresent line.


Born in Canora, Saskatchewan, John Der hung his hat on many a hook across North America and rubbed shoulders with many characters. After living for a while in Toronto, he enrolled in the merchant marine and sailed the Great Lakes and beyond. He got married in Montreal, where he worked in caricature and comics before studying at the Montreal Museum of Fine Arts. There John met Arthur Lismer, Marian Scott and Jacques de Tonnancour. Colourful, like La Palme and Hudon, Der was often invited to take part in television programs.


Der lived in Rosemere, north of Montreal, where he supported his family by working as a agent and broker. During a trip to Florida in 1982, he decided to devote himself full-time to painting.

The value of an artist is often judged according to the memories and names that he/she evokes. In this case, the artist lead us not to the impressionists or European landscape artist, but rather to Bruegel l’Aine, Bosch, Callot, Daumier, Rowlandson (British) Kokusai (Japanese) Benton and Cadmus (American) end even Picasso. If the analogy were continued, Rabelais’ name might crop up!


In other words, Ser was not the  artist painting old houses, barns, fences, churches or ruin. His art has always been current and realist. John Der saw Quebec as it is : alive, tender, passionate and always true. He also managed to season his work with finesse and lucidity.


Paul Gladu

John Der artist, galerie d'art la Corniche Chicoutimi

John Der artist, galerie d’art la Corniche Chicoutimi

Magazin’Art Fall 1996

Louis-Pierre Bougie

Louis-Pierre Bougie


Louis-Pierre Bougie was born in Trois-Rivières, Quebec in 1946. He has extensive experience in engraving; he specialized intaglio and etching in Paris, at Lacourière and Frélaut where he worked for over fifteen years. He made many  studies trips in France, Portugal, Poland, Ireland, Finland and New York.

His works are regularly exhibited in galleries in Canada, the US and Europe. Many of his works are in major public and private collections including Quebec and New York.
Artistic Approach

The engraving techniques at Louis-Pierre Bougie
Louis-Pierre Bougie product for some years a considerable engraved and painted work, which uses traditional burin techniques, aquatint, etc. to put them at the service of working in modern intaglio. Candle belongs to the great tradition of Goya, Blake and Rops, etc., and, at the same time, he developed an original technique of monotype, which involves the processes of etching to incorporate drawings from models alive. There is then a reversal of the technique: the paper is already drawn in black chalk heightened with acrylic and before receiving the image of the plate: a copper plate inked, which has been just bitten in advance by acid washes (the crachis or “spit-bites”) and some scratches scraper. The impression rather serves to capture everything in a supernatural transparency: to give light, that is what is meant by illumination. Thus, in Bougie, etching is a process that allows you to open and seal a space where desire and imagination settle otherwise in corporeal matter where the light (in successive highlights and illuminations) traces otherwise the show and gives us a part of ourselves. Candle reveals very close to the poet and engraver William Blake who said:

“Just as in poetry there is nothing like a letter Insignificant, painting there is nothing like a grain of sand or a Blade of Grass Insignificant – and what is Blur or Taché [Blur or Mark] is even less [1]. »

Michael La Chance

Louis-Pierre Bougie

suite-finlandaise-7 (2)

Kevin Titzer

Kevin Titzer


1- Bachelors of Science, Liberal Arts   University of Southern Indiana



“Troublesome Houses: Art Inspired By Will Oldham”   LVAA Gallery – Louisville, KY


Dig For Fire: Art Inspired By The Pixies”            C.A.V.E Gallery – Los Angles, CA

“Secret Handshakes and Bird Calls”                   Goldesberry Gallery – Houston, TX

“Ghost Of A Chance” – Solo Exhibition              Thinkspace Gallery – Los Angles, CA



“Gary Schott, Kevin Titzer”                                Goldesberry Gallery-Houston, TX

“Born Free” Group Exhibition                             Thinkspace Gallery – Los Angles, CA

“Picks Of The Harvest” Group Exhibition           Thinkspace Gallery – Los Angles, CA

“Love Conquers All” Group Exhibition               Thinkspace Gallery – Los Angles, CA

“Beyond Eden Art Fair”                                      Thinkspace Gallery – Los Angles, CA

“Five Year Anniversary”                                     Thinkspace Gallery – Los Angles, CA



“Solo Exhibition”                                             Garde Rail Gallery – Seattle, WA

“Three Person Exhibition”                      Snyderman Works Gallery – Philadelphia, PA

“Artrageous” Group Exhibition                           Estel Gallery – Nashville, TN



“Camilla Engman, Sergio Mora, Kevin Titzer”   Lunar Boy Gallery – Astoria, OR

 “Scott Radke, Kevin Titzer”                             Thinkspace Gallery –Los Angeles, CA

  “All Dolled Up”                                                C1 Artspace –Toronto, Canada

  “Valery Milovic, Matt Sesow, Kevin Titzer”       Alcove Gallery – Atlanta, GA


“Kings, Queens And Childhood Dreams”         Strychnin Gallery – London, UK

 Solo Exhibition”                                             Garde Rail Gallery – Seattle, WA

  “RE:Mission”                                                 Thinkspace Gallery – Los Angeles, CA

  “Hidden Depth”                                             Subtext Gallery – San Diego, CA    

  “Cult Of Children”                                          Black Maria Gallery – Los Angeles, CA


“Andy Kehoe, Kathleen Lolley, Kevin Titzer”     Harmony Gallery – Los Angeles, CA

 “Roger Clayton, Chris Dean, Kevin Titzer”        Tag Gallery – Nashville, TN

 “Gus Fink, Shaunna Peterson, Kevin Titzer”     Alcove Gallery – Atlanta, GA

  Casey McGlynn, Kevin Titzer”                        Garde Rail Gallery – Seattle, WA


“Mary Klein, Kevin Titzer”                                   Rogue Buddha – Minneapolis, M

Transformation 5: Works In Found Materials”   SCC Gallery – Pittsburgh, PA

 “Solo Exhibition”                                               Garde Rail Gallery – Seattle,

Mr. Hooper, Kevin Titzer”                                 Alcove Gallery – Atlanta, GA

 “Solo Exhibition”                                              C1 Artspace – Toronto, Canada

Steve Cull, Kevin Titzer”                        Chapman Friedman Gallery – Louisville, KY




“Kevin Titzer, Bill Skrips”                             Zeek Gallery – Salam, OR

 “Grimms Fairy Tales Reinvented”               Society Of Arts & Craft – Boston, MA       

 “Mr. Hooper, Kevin Titzer”                          Yard Dog Gallery – Austin, TX

 “Solo Exhibition”                                         Garde Rail Gallery- Sea

Mr. Hooper, Kevin Titzer”                            Alcove Gallery – Atlanta, GA

“Snowball In Hell: Art Inspired by They Might Be Giants”  

                                                                    Garde Rail Gallery – Seattle, WA


“Jon Langford, Kevin Titzer”                       Tag Art Gallery – Nashville, TN

Rik Catlow, Mr. Hooper, Kevin Titzer”       Tag Art Gallery – Nashville, TN

 “Melissa Meyer, Kevin Titzer”                   Chapman Friedman Gallery – Louisville, KY


“The Griffen Brothers, Kevin Titzer”           Tag Art Gallery – Nashville, TN

 “Jon Langford, Kevin Titzer”                     Chapman Friedman Gallery – Louisville, K

 “Gadgets, Gizmos, & Games”                  Art Complex Museum – Duxbury, Mass



“Once And Again”                                       OXOXO Gallery – Baltimore, MD

Jon Langford, Kevin Titzer”                       Tag Art Gallery – Nashville, TN

 “Spyglass”                                                 Gus Luckys Art Gallery – Minneapolis, MN

 “The Box”                                                 Chapman Fridman Gallery – Louisville, KY


“The Elephant Project”                              Phukaewitaya School – Saraburi, Thailand


Exhibitions provided upon request



Exhibitions Curated

2004         – Snowball In Hell: Art Inspired By They Might Be Giants

2011            – Dig For Fire: Art Inspired By The Pixies

2013            – Troublesome Houses: Art Inspired By Will Oldham



2006         – Indiana Arts Commission Individual Artists Grant

                 Funded visiting artist trip to Berlin
2000         – Indiana Arts Commission Individual Artists Grant

                  Funded visiting artist trip to Bangkok

1997         – Penland School of Craft Assistantship

1996         – Anderson Ranch Arts Center Scholarship


Visiting Artist

2007       – Collaboration with artist April Gertler –  Berlin, Germany

2000        – Project 304 Art Gallery –  Bangkok, Thailand

1999        – University of Wisconsin River Falls –  Wisconsin


Workshops Taught

2000         – The Elephant Project – Phukaewitaya School – Saraburi, Thailand

2000         – Lost And Found – Artworks Studio – Evansville, IN


Art Direction

2007         – Mock Orange music video (Song in D) Album: Captain Love, Wendsday records

2005         – Wood Diary short film Directed by David E. Mayers, Exit 7 media

Kevin Titzer creates three-dimensional sculptures using wood, metal, and other debris found near his home by the Ohio River. Born in 1972, the Evansville, Indiana, native has been making art for most of his life and has gained recognition in galleries across the country over the last few years.

“My process is fairly simple. I start off with driftwood that I collect from the Ohio River. Back at my studio I start to rough out the figure with hand tools. Typically the torso, legs, and base are all one piece of wood. The circumference of the base is the size of the log I started with. A head, arms, and hands are carved from smaller pieces of driftwood.

The next step is painting. I use many washes of acrylic paint on areas I want to represent skin. All of the wooden pieces are then attached with wooden pegs. When this is done I begin surfacing the outside with metal. In the past I have used rain gutters, candy boxes, ceiling tin, tackle boxes, and anything I can cut with hand sheers. This material is attached to the wood with many many tiny nails. Except for these nails and the paint, everything else I use to make my art is scavenged or recycled.

At the end of the process, I often fashion props for my figures to suggest a narrative. I enjoy telling open-ended stories with my work.”

Inuit Art

Inuit Art
Nunavik art
The first ancestors of today’s Inuit arrived in Arctic Quebec (Nunavik) approximately 4000 years ago when the ice sheets of the last ice age were retreating from the Hudson’s and Ungava Bay coasts. Originating from Siberia, Palaeo-Eskimo people spread across the Canadian arctic following the game they hunted.
Their descendants, the Dorset people, adapted their way of life to the rigorous climate and meagre resources. Archaeologists have discovered oil lamps that date back to that era and were undoubtedly used for heating igloos.
A new wave of immigration from Alaska spread into Canada about 1000 years ago. The Thule Inuit took advantage of a warmer period and prospered by hunting whales in the arctic waters. Their technology and hunting methods gave them an advantage over the previous inhabitants whom they eventually replaced. The last of the Dorset people lived in Nunavik until around 500 years ago. Inuit today still speak of an Inuit super-race. Undoubtedly, they remember one or the other group that once inhabited their land.
The historic period begins 300 years ago. The climate had turned colder and Inuit people had once again adapted their way of life. It is during this period that they met Europeans for the first time. The newcomers provided them with new tools in exchange for skins and small artefacts, thus introducing the concept of trading objects they created in order to obtain what they needed. This practice would, 250 years later, transform itself into a wonderful artistic industry.
inuit art sculpture

inuit art sculpture

In 1948, the Canadian Guild of Crafts organized the first showing of Eskimo sculptures in Montreal. The event received an enthusiastic response from the public and carvings made by previously unknown Nunavik artists all sold within a few hours. The Canadian government soon increased its efforts to encourage artists and to promote this developing art. Inuit cooperatives began to appear in the late 50’s and contributed to the promotion of Inuit art. During Expo 67 in Montreal, Inuit artists and their work were featured at the Canadian pavilion and they have enjoyed world-wide acclaim ever since.
Nunavik sculpture is produced in a wide variety of styles, from highly detailed representational works to abstract or minimalist pieces. The characteristics of the raw materials and the culture of Nunavik Inuit combine to give their art a unique flavour.


Ancient skills

The first wave of contemporary artists was born at a time when the Inuit still survived on the game they hunted and lived in the shelters they made from skins, snow and stone. They relied on skills and traditions that had been passed on from generation to generation. Men and women were experts at fabricating objects that were used on a daily basis. Their skills at making things were what the first artists wanted to show off.

Attention to detail

Typically, early pieces were meticulously detailed renditions of hunters or people involved in some task. Implements incorporated in these works were precisely portrayed by the artists with the expectation that buyers would appreciate the exactitude of their work. The stone that the artists used was perfect for such detailing.

Steatite , which is largely composed of talc, has a very fine grain and is soft enough to be shaped with hand tools. Its grain is quite even and the varieties they used turned dark grey when polished. These qualities helped show off the details so important to the artists. This attention to details, even today, is found in much of Nunavik art. The early themes are still popular with the artists and they pride themselves in their knowledge of their traditional ways.


The term Steatite is generally interchangeable with the term Soapstone although it may imply a slightly greater hardness than is associated with the term soapstone. This greater hardness of Steatite may be due to other minerals in the stone other than talc, or a crystal structure that is finer or denser.

sculpture inuit

sculpture inuit

Characteristics : 

  • Color is grey and white to almost silver
  • 1 to 3 on the hardness scale


Serpentine is classified as a group of related minerals in the Hydrous Magnesium Iron Silicate family (similar to Talc and Chlorite) and can have a hardness ranging from 3 to 4.5. Serpentine often incorporates inclusions, which give the stone its unique color variation.Characteristics :
  • Color is olive green, yellow or golden, brown, or black
  • 3 to 4.5 on the hardness scale


A non-fissile variety of shale or slate. A sedimentary rock formed predominantly from a mixture of clay and other minerals. Its extremely fine grain is known to take excellent detail in carving.Characteristics :
  • Color is grey to black, but many other colors are known
  • 2.5 to 4.5 on the hardness scale

Finding stone

Artists obtain their stone by traveling by canoe or sled to quarries known to contain good quality stone. This one is very shallow and extracting carving stone by hand is relatively easy. Some quarries become deep pits after several years of use and extracting stone is then more difficult and dangerous. Carvers mining stone will often work in teams for security.

First step

Sculptors will bring back several pieces of stone from a mining trip. The shape of a block of stone often tells the artist what his subject might be. Useless parts are sawed or chopped off as a first step in the making of a sculpture.A shape emerges 
With a practiced hand, the artist will begin to chip away at the stone until a rough shape begins to appear. As work progresses, smaller carving tools made or modified by the artist to work the stone in constrained areas are used.

Cutting and shaping
Often, a lot of the work that will go into the making of a sculpture is in the detailing. This can start fairly early in the carving process. The stone being used here is steatite which is well suited to complex work. The artist is using a chisel to cut through and shape the stone.

Smoothing the stone 

The sculptor has begun to smooth the stone with sandpaper. There are many steps to polishing as finer and finer grades of abrasive must be used in order to reveal the beauty of the stone. Bone pieces have been fitted to the runners of this piece in an effort to be as true to reality as possible.Final polish 
All the details have been added and the artist is giving the stone its final polish. It is hard to estimate the time needed to carve such a piece since artists will often make several smaller pieces as they work on a large one. This one was ready 6 weeks after the block it came from was first cut.

Louise Carrier

Louise Carrier


Louise Carrier has left an important and authentic work . It is in the life she led as well as in his art, where sobriety , which can detect any inner wealth woman , Louise Carrier reign . Those who knew her home found the woman , artist, . the poet, the charming woman , deeply human , the one that had the power to drink that life is most true.

The art of Louise Carrier is pure, very mature . His work has escaped the influence of different methods and schools of thought . In her painting was an intimate gesture , modest by which she expressed her love of people and things . Intimate painter , Louise Carrier fixed on the canvas his moods , was projected in the faces she drew .

In this artist ‘s indifference was not his place this éatit a passionate belief that a human being to live , needs to wonder. But the fire that is fueled animated uncertainty , anxiety , despair even dotting one day either way of the artist.

“I made a self -portrait, she wrote in her diary I am distressed about this table What martyrdom painting. . :

1- pleasure of painting best time

2 – exaltation

3 – doubt, feel tired

4 – fatigue , taste destroy

5 – no more discernment, complete blindness , depression, despair

I wish that I could never give up painting . As I would like to express that feeling ! ”

Louise Carrier has a warm work, imbued with tenderness and sweetness.

Jean- Paul Lemieux, friend of the artist , is seduced by the work and personality of Louise Carrier. ” His painting does not make noise , it is very soft, a little melancholy and very much like this frail little woman she was . Professor Louise Carrier in the ’40s , Jean- Paul Lemieux speaks especially of humility the artist and his imperviousness to all the theories he appreciated her home.

Louise Carrier artist , painter, artist , art gallery the artist cornicheLouise Carrier

Wilfred Barnes

Wilfred M Barnes
Wilfred Barnes was a member of the “Royal Canadian Academy”. He operated the Barnes School of Art in Montreal Quebec.
His paintings are in the collection of the National Gallery of Canada, The Ottawa Art Gallery and the University of Lethbridge.
Wifred Barnes was born and died in Montreal, Quebec, Canada.

Wilfred Molson Barnes RCA

Born in Montréal, Barnes studied at the Art bAssociation of Montréal Under William Brymner, Maurice Cullen, and Edmond Dyonnet. He moved to New-York where he studied at the Chase School under  William Chase, K


Wifred M. Barnes misty morning