Category Archives: Biographies

Courte description du parcours de l’artiste.

Michel Lancelot

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Lancelot, Michel
Biography: Born March 5th, 1945 in Angers, France. He has lived in Quebec since 1967.

Education:
Graduated from Montreal School of Fine Arts in 1974 with major in engraving. The same year, he took charge of the Pavillon of Engraving at «Terre des Hommes», on the site of the former 1967 World Expo. At the same time, he hosted the first retrospective show of the prints of Albert Dumouchel, considered as being the father of Quebec’s engraving. Michel Lancelot has spent his entire life teaching fine arts in various schools. He is now a full-time member of Atelier Circulaire, the most important printer’s studio in Montreal.

Collections:
National Bank – A.A.P.P. Inc. – GPC Concordia – Montreal Museum of Fine Arts – F.T.Q. – Institut de Recherche Clinique de Montreal – Everest Group – Loto-Quebec – Pouliot Mercure

JOURNAL METRO

L’Express d’Outremont
4 décembre 2012
Une inscription, un graphe dans les formes de la temporalité : telle pourrait être une caractérisation de l’œuvre de Michel Lancelot. Cela tient d’abord à la maîtrise éclairée de différentes techniques : aquatinte, lithographie, eau-forte, pratiques qui s’entrecroisent, qui s’éclairent et fournissent d’inépuisables possibles.

L’artiste fût aussi enseignant, et cette profession qui exprime entre autres la volonté d’être un passeur, de transmettre un savoir qui est surtout un héritage, confère aussi une texture particulière à la recherche artistique.

Le versant intuitif, la spontanéité du geste doit se décomposer pour être saisie; à la limite, il faut revenir à l’aube des apprentissages pour les re-connaître. Une temporalité qui est aussi conservation et valorisation, car Michel Lancelot investit dans ses récents travaux des cartes géographiques tirées de vieux almanachs, des gravures d’Hokusai extirpées de beaux livres sur l’art, des trouvailles en grand format aux couleurs surannées.

Ces supports sur lesquels s’effectue le travail sont choisis non seulement pour les qualités inhérentes à la matière, mais aussi et surtout pour la beauté des gravures, du dessin, des coloris et des moments de l’histoire qu’ils représentent. L’intervention n’est jamais passéiste; il s’agit plutôt d’un hommage, une façon de créer un dialogue entre l’artiste et cette matière venue du passé.

Michel Lancelot pose sur cela des formes végétales, animales et humanoïdes qui forment des compositions où l’équilibre et la cohérence sont constants. Il y a parfois émergence d’un petit théâtre. Parfois aussi quelques traits dessinent-ils un visage, ébauchent un sourire narquois, tracent un œil malicieux, toutefois la figuration ne porte pas un message.

Sous l’encre noire comme sous les carmins, citrons ou azur, il est possible de distinguer les fonds ouvragés; les formes créées par l’artiste ouvrent là-dessus des fenêtres à ces anciennes harmonies. Ce sont les signes d’une appréciation très sentie envers des qualités de savoir-faire du passé. Par ailleurs, une vie bien réelle et une ironie bienveillante imprègnent ce travail, et cela laisse l’impression d’une sorte d’allégresse, d’une célébration esthétique épurée de tout contenu doctrinal.

Voici une mince inscription dans le corps même de la démarche de l’artiste : une recherche heureusement sans fin poussée toujours plus avant par une passion pour les techniques de gravure, de dessin, de peinture. Un dialogue médiatisé par des créatures et des créations que l’on reconnaît immédiatement; elles composent le délicat paraphe de Michel Lancelot dans l’histoire de l’art.

Douglas Miller

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Douglas Miller

Through an intuitive process of accumulating and scattering lines, digressions in narratives, and often-abandoning subjects, drawing is a dynamic and fundamental part of myself. A part that is both embedded in history and continually changing. I work in the same way that an author revises text, constructs sentences, edits words, deconstructs sentences, and rubs out ideas. The objective of correction fascinates me. 

 

Education

2007 ­2009 University of Louisville, Bachelor of Fine Arts 2009 Louisville, Kentucky

1993 ­1995 Ringling College of Art and Design Sarasota, Florida Grants/Awards

2015 Al Smith Individual Artist Fellowship Award, Kentucky Arts Council Young Harris College Visiting Artist Honorarium

2014 Mazin Juried Exhibition Best in Show Award Kentucky Derby Museum Artist­in­Residence Honorarium

2013 L.E.O. Reader’s Choice Award “Best Visual Artist”

2011 L.E.O. Readers’ Choice Award “Best Visual Artist”

201 0L.E.O. Readers’ Choice Award “Best Visual Artist” 2009Bill Fischer Working Artist Grant, University of Louisville Allen R. Hite Scholarship, Dean’s List

2008 American Artist: Drawing Magazine Honorable Mention, Krempp Gallery 15th Annual Juried Competition Award of High Honor, Unusual Animals Exhibition Awarded Best in Show, Dean’s List Selected Exhibitions

2015 ­ Plan for an Undoing: New Drawings by Douglas Miller The Green Building Gallery. Louisville, Kentucky. ­ Vignettes M.A. Doran Gallery. Tulsa, Oklahoma. ­ Wild Things Lexington Living Arts & Science Center Museum. Lexington, Kentucky ­ New Times Three: New Artists, New Works, New Year Blue Spiral 1 Gallery. Asheville, North Carolina.

2014 ­ Mazin Juried Exhibtion Patio Gallery. Louisville, Kentucky ­ KINGDOM: Animals in Contemporary Art Manifest Gallery. Cincinnati, Ohio ­ Revolver Antler Gallery. Portland, Oregon ­ Impressions: Art of the Race Kentucky Derby Museum. Louisville, Kentucky

2013 ­ Troublesome Houses: An Art Tribute to Will Oldham PUBLIC Gallery. Louisville, Kentucky ­ By the Numbers PUBLIC Gallery. Louisville, Kentucky ­ Title still to be Determined (Lecture) University of Louisville, Hite Art Institute. Louisville, Kentucky ­ Title to be Determined at a Later Date (Lecture and exhibit) Melvin Peterson Gallery, University of Evansville. Evansville, Indiana

2012 ­ ReAnimation: Turning Toys into Art Kentucky Museum of Art and Craft. Louisville, Kentucky ­ Bewilderinger The Green Building Gallery. Louisville, Kentucky ­ Wild at Heart: Keep Wildlife in the Wild Thinkspace Art Gallery. Los Angeles, CA ­ Douglas Miller: Old and New Drawings Patio Gallery. Louisville, Kentucky

2011 ­ Dig for Fire C.A.V.E. Gallery. Venice, California ­ L Likes Animals Quills Gallery. Louisville, Kentucky

2010 ­ Louisville Visual Art Association

2010 Art Auction LVAA Water Tower Gallery. Louisville, Kentucky ­ Douglas Miller: Drawings from The Nos Quills Gallery. Louisville, Kentucky

2009 ­ BFA Thesis Exhibition Hite Galleries, University of Louisville ­ International Drawing Annual: Selections from the 2008 INDA Exhibition Manifest Gallery. Cincinnati, Ohio

2008 ­ Animal Nature/Human Nature The 930 Art Center. Louisville, Kentucky ­ 21c Museum Dia de los Muertos 21c Museum Hotel. Louisville, Kentucky ­ Unusual Animals The 930 Art Center. Louisville, Kentucky ­ International Drawing Annual:

Collections

Evansville Museum of Arts and Sciences, CellarDoor Chocolates, Oohology Media + Design Lab, Corporate Office, University of Louisville, Speed School of Engineering, Forest Giant Corporate Office, the Larry Shapin and Ladonna Nicolas Collection, the John and Cynthia Norton Collection. Private Collections in Kentucky, California, Virginia, Florida, Washington, Alaska, New York, Texas and Illinois.

bat1.1 chèvre1

James Kerr Scorpion Dagger

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James Kerr Scorpion Dagger

James Kerr is a digital artist based in Montreal. He is best known for his animated GIF project Scorpion Dagger. In this project James mixes his own illustrations with cut outs from various paintings from art history. In the process he creates a new world to comment and satirize our modern age and pop culture in general.

This project has began to spill out from the internet into the real world. James’ animated GIF’s have been shown in art galleries in the US, Canada, Switzerland, Poland, Belgium, and England.

He regularly does commissioned art. Various clients have included The New York Times, Gucci, Adult Swim, and Perrier.

Most recently his art caught the eye of renowned film director Jim Jarmusch. James was commissioned to create animated sequences for Mr. Jarmusch’s new documentary “Gimme Danger” about the band Iggy and Stooges.

Bad_Campers1

Aaron Tanner

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Aaron Tanner

Celebrating over 10 years of blue-collar, creative clarity.

Melodic Virtue is a small, hard-working independent publisher with a strong history of award-winning work in the music industry. Originally started in 2004 as a graphic design studio by Aaron Tanner, we’re known for telling our clients’ authentic and unusual stories visually, and now do so through limited-run coffee table books to engage fans of music.

Tanner has been creating memorable design work for well-known acts for over 15 years. A musician and life-long fan of music and the arts, Tanner’s design work has won numerous national awards and has been recognized by several prestigious international design publications. He also volunteers at universities to help mentor future designers.

FEATURES: 1000 Dog Portraits: From the People Who Love Them (Rockport), 1000 Supreme CD Designs (Page One), Art Dogs: 100 Postcards (Rockport), BeerAdvocate Magazine, Best Practices for Graphic Designers, Packaging (Grip), Cool Beer Labels (Print), éTapes Magazine, Design: Logo – An Exploration of Marvelous Marks… (Rockport), Dirty Fingernails (Rockport), Disc Makers Magazine, Interactive Design 2 (Graphis), Introducing: Designs For Making A First Impression (Gestalten), Los Logos 4 (Gestalten), Oh Beautiful Beer: The Evolution of Craft Beer and Design (Countryman Press), Paste Magazine, Promotion Design 2 (Graphis), Tres Logos (Gestalten)

AWARDS: AAF National ADDY Awards Silver 2016, AAF National ADDY Awards Gold 2013, AAF District 6 ADDY Awards Gold 2015, AAF District 6 ADDY Awards Gold 2013, AAF District 6 ADDY Awards Gold 2001, AAF Evansville ADDY Awards Best In Show 2013, AAF Evansville ADDY Awards Best In Show 2001, AAF Evansville ADDY Awards Gold 2015, AIGA Louisville Gold 2008, Evansville Design Group Awards Best In Show 2012, Evansville Design Group Awards Silver 2015, Evansville Design Group Awards Silver 2013

Ozias Leduc

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Ozias Leduc

1864 – 1955

“Art teaches, informs. It uncovers the soul. No doubt it also has the power to sort the chaos of the unconscious into an orderly cosmos. It leads from disorder, suffering and unbalance to stability, harmony and joy.”
(Ozias Leduc, in a letter to Paul-Émile Borduas, 1943)

The Quebec painter Ozias Leduc is known both for his religious and secular works. In his church paintings, he transforms traditional iconography through a Symbolist interpretation. His genre portraits, still lifes, and landscapes are characterized by a warm, intimate quality, sensual lighting, and controlled brushwork. Leduc taught Paul-Émile Borduas and influenced Jean-Paul Riopelle.

Leduc began working in 1883 as a statue painter at the T. Carli studio in Montreal. He apprenticed in church mural painting with the Italian artist and set designer Luigi Capello in Montreal and with the painter and sculptor Adolphe Rho in Yamamiche, Quebec. Beginning in 1891, Leduc participated in numerous exhibitions at the Art Association of Montreal, in Ottawa, and in Toronto. After a seven-month stay in Paris in 1897, he developed a growing preoccupation with landscape and with allegorical compositions.

Among Ozias Leduc’s 150 church murals are those in his own parish church of Saint-Hilaire (1896-1900), the Chapel of the Bishop’s Palace, Sherbrooke (1922), and Notre-Dame-de-la-Présentation, Shawinigan-Sud (1942). He also decorated church interiors in Nova Scotia and the eastern United States. His secular works include Boy with Bread (1892-99) and Green Apples (1914-15).

Ozias Leduc
Collection of the Library and Archives, National Gallery of Canada.

Birth name

Ozias Leduc

Born

Born in Saint-Hilaire, Quebec, 08 October 1864

Died

Died in Saint-Hyacinthe, Quebec, 15 June 1955

Mathieu Rousseau

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Mathieu Rousseau

(Sorry, english will follow soon…)

Mon parcours artistique

D’aussi loin que je me souvienne, j’ai toujours aimé dessiner.  Créer, construire, élaborer et fabriquer sont des verbes qui ont toujours faits partie de mes activités quotidiennes peu importe mon âge.

Attiré par les arts à l’adolescence, les cours d’arts et de musique étaient toujours à mon horaire.  Je prenais plaisir à réaliser les projets présenter par mes enseignants, à me les approprier en passant plusieurs heures en classe et à les peaufiner à la maison.

Début vingtaine, inspiré par ma mère qui peignait,  j’ai commencé moi aussi à peindre.  Je découvrais par mes lectures de grands peintres de tous les courants confondus.  J’aimais cette liberté de création et de possibilités que m’apportait la peinture.  C’est vers le début de l’an 2000 que j’ai commencé à participer à des expositions, des concours, bref à montrer aux autres mes créations.

Les commentaires reçus m’ont poussés à suivre une formation en arts donnée par l’Université du Québec à Chicoutimi.  J’appréciais le fait de “baigner” dans une ambiance artistique à temps plein et de côtoyer des gens stimulants, créatifs, passionnants et exigeants.  Les défis lancés par mes enseignants m’ont permis de pousser mon art et de me dépasser.

Ses influences

La lecture et la visite de musées font partie des activités dont il aime s’imprégner.  Les peintres  Gerhard Richter, Jackson Pollock, Pablo Picasso, Eugène Delacroix,  Alfred Sisley, ainsi que Vincent Van Gogh sont pour lui une source d’admiration et d’inspiration sans fin.

Les goûts et les passions de Mathieu sont très variées et peuvent parfois l’inspirer: sa famille, la nature, l’espace, les découvertes scientifiques, les animaux et les gens.

Le style de Mathieu Rousseau en peinture se caractérise par l’agencement des couleurs et leur superposition et les textures spécifiques  qu’il crée.  Il façonne son style de peinture propre à lui.  Il aime peindre des œuvres ayant des thèmes variés allant des animaux, de l’espace et de l’abstraction .

Il retrouve dans son art un moyen de s’exprimer, de s’évader du quotidien  et surtout d’explorer des univers variés.

Mathieu Rousseau

Mathieu Rousseau, Choc nébuleux

 

Lorne H. Bouchard

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Lorne Holland Bouchard

Born in Montréal, Québec, Canada, on March 19th. 1913.
Started drawing at age seven years in Douglastown, Gaspé. Mother, Jennie Holland was born in Gaspé, father, Roch Bouchard was born in Montréal.

Studied drawing under Wilfred M. Barnes, RCA and also at École des Beaux Arts in Montréal, under professor Felix, 1928, 929 and 1930.

1928 – 29
Worked in Northern Québec, Quinze River, Angliers,P.Q. and Northern Ontario, Montréal River (Silver Center and Cobalt), lake Temiscaming area. Hydro projects, survey and pole-line gang. This North country greatly impressed me and has influenced my work, even to this date.

1931 – First Exhibition
Spring Exhibition:   Montréal Museum of Fine Arts, • (then called “Art Association of Montréal”). The canvas titled “McGill Cab Stand, Winter 1929” painted at age 16.

Autumn Exhibition: Royal Canadian Academy of Arts, held at “Art Association of Montréal” water colour titled: “Floating coffer dam crib into place, Quinze River, Northern Ontario”.

1933 – Gaspé
First sketching trip, i.e. Painting in oil on location.

1935, May – Drummondville, Québec.
Took job as label designer and Assistant Art Director, Dennison Mfg.Co.of Canada Ltd., under William Cripps who was a great influence on me, especially in memory drawing of the figure. Learned more with Bill Cripps than with anyone before or since. A man with an uncanny memory and simplicity of design, one of the truly gifted and great draughtsman.

1939 April
Married, Lucille Milot in Drummondville, P.Q. where our children, Joyce and William were born.

1943
Elected Associate of the Royal Canadian Academy (A.R.C.A))

1946
Took job as illustrator with Bomac Ltd., Montréal, P.Q. artists and engravers, under Reginald Murdoch, Art Director, 3 ½ years with Bomac. Worked four days per week, commuting to Drummondville on weekends.

1948
Moved family from Drummondville to Montréal

1950
Painting and sketching trip Cape Ann. Mass., USA

1950-1951-1952
Illustrator with C. & G. Grier, Ltd., Montréal P.Q. Advertising Art Service, also with Rapid Grip and Batten Ltd. ,Montréal, Artists and Engravers.

1952
Started free lance (Advertising Illustrator)

1953
Painted “Québec City” and “Shawinigan Falls” for Seagram “Cities of Canada Series“. Also numerous paintings for Advertising Agencies.

1956
Award of merit, Art Directors Club of Montréal, exhibition of advertising and editorial art at Montréal Museum of Fine Arts.

1959 Joint first prize, Montréal Hadassah Exhibition
During time of employment with different advertising firms, painted and sketched on location weekends and took trips without pay so I could study direct from nature, especially in late winter and autumn. Never applied for any bursaries, Federal or Provincial, which could have helped during our lean year

Favorite painting locations;
Gaspé Coast, Baie-St-Paul, lower St. Lawrence, the Beaupre Coast, Laurentide Park, Oka and St-Placide, (Lake of Two Mountains.) Very impressed with Mexico in March and April 1963.

Represented in Private & Corporate Collections:
Canada, U.S.A., England, Switzerland, South America, India and Australia.

1960
Painted in Canada from coast to coast, Western provinces, The Rockies, British Columbia. Trip recorded in Weekend magazine in full color, entitled, “The Magic of the Mountains.”

1962
Elected full member of Royal Canadian Academy of Arts (RCA) Exhibited in numerous group shows and traveling exhibitions in Canada and U.S.A., Ford traveling shows.

1962
By the curtesy of and in the company of David and Claire Molson, my wife Lucille and I sailed on the boat the “Laird River”, down the “MacKenzie river,” from Hay River on Great Slave Lake to the Beaufort Sea in the Western Arctic, a distance of 1,200 miles.

1962
This Western Artic trip recored in full color in Weekend magazine and also in Perspective (french supplement), double page spread, titled “The Mackenzie River, the Mississippi of the North.”

1963
Painted and sketched in Mexico, Taxco, and San Miguel de Allende.

ONE MAN SHOWS
1940, 1949, 1952, 1955
Continental Galleries, Montréal, Québec.

1960, 1961, 1962, 1964, 1966, 1969, 1971
Walter Klinkoff Galleries, Montréal, Québec.

1962
Two-man show in Gallery 12, Montréal Museum of Fine Arts, with Kitti Bruneau

Four-man show in London, Ontario Museum with Albert Cloutier,R.C.A. Alan Collier, R.C.A. and William Roberts.

Royal Canadian Academy of Travelling Exhibitions throughout Canada.

1969 EASTERN ARCTIC
First trip to Eastern Arctic, March and April. All Eastern Arctic trips, courtesy of M.J.F.TOOLEY, Chairman of Nordair. Painted twentyfour 12″x16″ oils on location along with countless drawings, sketching from co-pilot’S SEAT, NORDAIR DC-3 en-route to various points;

Cape Dorset, Pangnirtung, Broughton Island, Frobisher Bay (Baffin Island) also a short stop at Fort Chimo. I was on first 737 jet to land at Resolute.

1969 SEPTEMBER
Second trip to record passage of oil tanker Manhattan off Resolute Bay through Northwest passage, also a week’s stay at Frobisher in September.

During trip in March 1969, film maker John Basset of Montréal accompanied me to the Arctic and from this combined expedition came the film, in color, entitled “LORNE BOUCHARD, an artist’s impression of the ARCTIC. II

1970
Film “LORNE BOUCHARD”, an artist’s impression of the Arctic" was on Nation Wide Television three times to date and was shown privately at Ottawa’s Civic Center, courtesy of Mr. James Tooley, Chairman of Nordair.

1970 May
First trip to Europe, France (Paris & Vence), Italy, (Rome, Florence, Venice, Sienna, Portofino, Genoa, etc.,) Painted pochades and drawings in all places,” ink notes from moving buses”.

1971 May
Second trip to Europe, Spain, Portugal, resulting in approximately 100 drawings and a few oil sketches.

1971 June
Painted “Churchill Falls” on assignment for Mr. Tom Sanderson, Vice President of Hewitt Equipment Company.

1971 July
Third trip to Arctic with Lucille, Frobisher Bay, Resolute, Cape Dorset, Pangnirtung, N.W.T., Baffin Island.

1971 October
Gaspe Coast painting trip

1972 April
Beaupré Coast sketching trip

1972 June
Nova Scotia Cabot trail and New Brunswick

1972 July
Fourth trip to Eastern Arctic, Pangnirtung, Painting and drawings

1972 November
Exhibition (one-man show) Art Emporium, Vancouver, BC

1973 April
Painting trip “North Shore” below Québec City.

1973 July
Painting trip Gaspé Coast

1973, July 26th.
Arctic painting and fishing trip, Clear Water fiord, Baffin Island off Cumberland Sound

1973 November
Exhibition (one man show) Walter Klinkhoff Gallery, Montréal,P.Q. Québec and Eastern Arctic

1974 March
Trip to Mexico, Sketching in San Cristobal, Las Casas, “Sierra Madre Mountains”, Oaxaca, Guadalajara and surrounding towns.

1974 May
Sketching and Painting trip, North Shore, Charlevoix County, P.Q.

1974 June
Study trip to New York

1974 July
Sketching Painting trip, Baffin Island, N.W.T.

1974 October
Sketching and Painting, North Shore Beaupré Coast, P.Q.

1974 November
Sketching and Painting, Diamond Drill Site, Lac Lunar. “East of Laurentide Park.”

1975 April-May
Holiday and sketching trip, Martinique,St.Lucia, West Indies

1975 May
Sketching and painting trip, Baie St. Paul, P.Q.

1975 October
Portrait of Dr.Armand Frappier “Fondateur de 1 ‘Institute de Microbiologie et Hygiene  de Montréal.”

1975 November
Exhibition (one man show) Walter Klinkoff Gallery, Montréal, P.Q

1976 October
Sketching trip-painting Charlevoix County, North Shore, Laurentide Park

1977 May
Sketching trip-painting Charlevoix County, North Shore, Laurentide Park

1977 August
Sketching Trip- Gaspe coast with Lucille

1977 November
LAST EXHIBITION (one man show) Walter Klinkoff Gallery, Montréal,P.Q. (Québec and Arctic)

1981 SEPTEMBER
TRIBUTE TO LORNE HOLLAND BOUCHARD, R C A 1913 – 1978
Walter Klinkoff Gallery, Montréal, Québec, Canada

Ref: http://www.lornehbouchard.ca/en/bio/index.html

Jean McEwen

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Jean McEwen

1923 – 1999

“There are two ways to judge a painting … One is based on criteria and theories of art. The second is based on the sensations we get before a picture. I paint the second way.”

Jean McEwen, 1956

Jean McEwen wanted his abstract paintings to be an experience for the viewer. They are layered with translucent and opaque colour, and he is particularly known for his experiments in pouring and layering paint.

McEwen studied pharmacy at the University of Montreal, while maintaining an interest in poetry and painting. In 1951, less than a year after his graduation, he decided to pursue a career as an artist and soon found his interest was in non-representational expression and experiments. He was inspired by Montreal Automatiste members Jean Paul Riopelle and Paul-émile Borduas, who believed in spontaneous creativity based on tapping into the unconscious. Borduas encouraged McEwen to visit Riopelle, who was living in Paris.

McEwen moved to Paris in 1951 where he was influenced by the work of Riopelle, Jackson Pollock and Sam Francis. By 1952 he was painting in a style similar to Riopelle’s, using a palette knife to create all-over surface effects, a method he later left behind when he began working with his fingers.

Beginning in 1957, McEwen worked on a succession of experimental series that focused on creating flat, dynamic space through exploring the different qualities of colour. These pieces do not make any reference to nature but consider the relationship of the painting’s structure to its colour. They are made by means of a layered process with opaque and transparent pigment. Red Interlacings (1961) is an example of his concern with the sensual effects of colour and the experience of pure sensation. Layers of red, yellow and brown cover the canvas, giving a sense of depth and liquidity.

His later paintings were centred on a strong vertical plane that integrated the different sections of the image into a whole. McEwen understood this division to be about trapping light in the two sections by varying the opacities of paint. Although the artist’s primary medium was painting, he also created a series of artist books and a group of stained glass windows at Concordia University in Montreal. He exhibited widely until his death.

Ref.: National Gallery of Canada

canadian, abstract painting

Jean McEwen, Jardin de pierres vaste II, galerie la corniche

Adrien Hebert

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Adrien Hébert

Adrien Hébert’s artistic career may be said to have begun in 1909 when he exhibited for the first time at the AAM’s Salon du printemps, a venue that regularly featured his works up until 1954. From 1910 to 1960 his paintings were shown at the annual exhibitions of the Royal Canadian Academy of Arts.

Rue Saint-Denis

1927 by Adrien Hebert, oil on canvas (courtesy Musée du Québec).

Hébert, Adrien

Adrien Hébert, painter (b at Paris, 12 April 1890; d at Montréal 26 June 1967). Son of sculptor Louis Philippe Hébert (1850-1917) and of Maria-Emma-Cordélia Roy (1856-1942). His childhood was spent as much in Canada as in France, his father having been commissioned to create a series of sculptures to adorn the facade of the Parliament Buildings in Québec City. From 1902 to 1911, he attended Montréal’s Conseil des arts and manufactures, taking courses from EdmondDyonnet (1859-1954), Joseph-Charles Franchière (1866-1921) and Joseph Saint-Charles (1866-1956). He also studied under WilliamBrymner (1855-1925) at the Art Association of Montréal, which later became the Montreal Museum of Fine Arts (see Musée des beaux-arts de Montréal).

The Early Beginnings

Adrien Hébert’s artistic career may be said to have begun in 1909 when he exhibited for the first time at the AAM’s Salon du printemps, a venue that regularly featured his works up until 1954. From 1910 to 1960 his paintings were shown at the annual exhibitions of the Royal Canadian Academy of Arts. In 1916, he mounted a show at the Saint-Sulpice Library in Montréal with his sculptor brother, Henri Hébert(1884-1950), and in 1918 he also collaborated with his brother to publish Le Nigog, a review advocating modern literary and painterly aesthetics in opposition to the regional modes prevailing in Québec.

A Style Recalling Cézanne

His 1922-23 residence in France saw him painting Ardèche landscapes and Paris scenes, along with portraits of friends in a style recalling Cézanne. Returning to Montréal at the end of the summer of 1923, he taught design at the Conseil des arts et manufactures. After this date, his artistic style took on a more distinctive form as he discovered a painterly interest in the port of Montréal. What struck him about the port, in addition to the ships discharging cargo and the dockers working, was the beauty of the harbour’s architecture exemplified in the huge grain silos and in the footbridges connecting the wharves. Such structures afforded him the opportunity to compose highly formalized pictures that depicted the port’s dizzying activity translated by a pictorial evocation of sound and motion.

The Urban Landscape

Hébert’s love for the city manifested itself in his urban paintings: from this time and for many more years, he produced works which depict metropolitan streets, often those close to his studio in Sainte-Julie (now Christin) Street. These works capture images of pedestrians coming and going and of cars and trams travelling down rain-wet roadways or snow-swept streets. In March 1931 at the Galerie A. Barreiro in Paris, he exhibited 20 canvases representing his favourite subjects. That year the city of Montréal commissioned him to do a large-scale historical work on the topic of Jacques Cartier arriving atHochelaga in 1535. In 1941, he was elected to membership in the Royal Canadian Academy of Arts.

Upon Henri’s death in 1950, Adrien moved into his brother’s studio on Labelle Street, a studio originally built by their father. During this period he painted the region of Chicoutimi encouraged by Armand Hébert, his nephew, whose job it was to promote the Saguenay. In 1953, Adrien received his third Jessie Dow prize, this time awarded by the AAM for his canvas S.S. Empress of Canada.

The next year, upon his retirement from teaching for the Catholic School Board of Montréal, Hébert went to French West Africa, travelling on to France at the start of 1955. On his return he displayed works based on this voyage in his Montréal studio. He remounted the show in the Hélène de Champlain the following year. After the demolition of his studio in 1963, the painter installed himself in a house he bought in Westmount.

Throughout his career, Hébert saw himself as an urban painter, even if he often worked on Belair Island, where his family owned a country property. A month after his death, Mayor Jean Drapeau presented one of Hébert’s Port-of-Montréal scenes to General Charles de Gaulle on the occasion of the latter’s visit to Expo 67. In 1971, the National Gallery of Canada organized and toured an exhibition entitled Adrien Hébert, Thirty Years of his Work, and in the summer of 1993, theMusée du Québec commemorated Hebert with an exhibition dedicated to his art.

Source: http://www.thecanadianencyclopedia.ca/en/article/adrien-hebert/

galerie la corniche

Gaspé, Adrien Hebert, canadian artist, historical artist, Louis-Philippe Hebert