You Are Cordially Invited to Attend an Exhibition of Recent Works by Rita

Total Page:16

File Type:pdf, Size:1020Kb

You Are Cordially Invited to Attend an Exhibition of Recent Works by Rita University of ,Toronto Faculty of Architecture, Urban and Regional Planning and LandscapeArchitecture 230 College Street, Toronto 5, Ontario, Canada Telephone (416) 9285038 You are cordially invited to attend an exhibition of recent works by Rita Letendre, painter, and Kosso Eloul, sculpture, in the Faculty exhibition ga11e:fy, from Thursday, January 4th, 1973 and continuing until Monday, January 15th, from 9:00 a. m. to 6:00 p. m. (weekdays only). Rita Letendre Born in 1928 in Drummondville, P. Q, Studied 'utin Montreal "Ecole des Beaux Art". Exhibited since 1952 in 21solo shows and in more than 25 group shows, in Montreal, Toronto, Vancouver, Winnipeg, Quebec, New York. Los Angeles, Paris. Rome, Detroit, Tel Aviv, London England, Spolcto, Ottawa. San Francisco. Kosso Eloul Born in Russia in 1920 and migrated to Israel in 1924. He has exhibited, taught and lectured in Israel. Europe and the U. S. A. He settled in Canada in 1969 and lives at P. H. 2, 45 Ballio1 St.• Toronto. He was an artist ill residence at this Faculty during the session 1969-70. In 1971he conducted a large (28'x50'x166') steel, earth and marine plywood environmental sculpture project at Fanshawe College, London, under the sponsorship of the Province of Ontario Council for the Arts. Last year he was artist-in..:residence at Seneca College. Rita Letendre will discuss her work in the studio. Room 61. on the ground floor, (first turn to the left and go straight ahead after entering the building from Huron st. ) at 12:00 noon on Friday, January 5th. Kosso E10ul will discuss his work also in the studio, Room 61, at 11:15a. m. on Thursday, January 11th. Thomas Howarth Dean 20th December. 1972 l1B - Please note that an important exhibition of ,the early work of Le Corbusier at Pessac will be 'shown from 18th - 31st January, 1973.. RITA LETENDRE Born in 1928 in Drummondville, P.Q. Art Study in f"lontrealIIEcole Des Beaux Art II• Exhibited since 1952 in 21 solo shows and in more than 25 group shows, in ['10ntrea1, Toronto, Vancouver, Hi nni peg, Quebec, New York, Los Angeles, Paris, Rome, Detroit, Tel-Aviv, London, England, Spoleto, Ottawa, San Francisco. REPRESENTED: I (parti al 1isting) [,1useeD'Art Contemporain, Hontreal; f/luseumof Fine Art; Quebec Provincial Museum; Sir George William University; Art Gallery of Toronto; Longbeach Museum, California; Speed Museum, Kentucky; Rose Art Museum, Brandeis University, ~lass.: Storm King Art Center, New York; and others. RECENT ACTIVI TY: I SOLO SHOHS 1971 Ga11erie de f'/lontreal,fiiontreal 1972 Malvina Miller Gallery, San Francisco 1972 Bau-XI Gallery, Vancouver 1972 Moos Gallery, Toronto 1972 De Vorzon Gallery, Los Angeles 1972 Arwin Gallery, Detroit 1972 Musee D'Art Contemporain, Montreal GROUP SHOHS 1972 "Artario 172", C.N.E. Art Gallery, Toronto 1972 "4th Annual Canadian Printmaker's Showcase, Carleton University, Ottawa 1972 "Sources III", Cranbook Academy Art Gall e ry 1972 "18th National Print SholtJIIBrooklyn r'~useum, NeltJYork COMMISSIONS: SINCE 1971: 2 outdoor murals (one on Gerrard St. by Church; one on Davenport Rd. in Toronto) 2 large indoor murals: "("Berkshire House" on Duplex in Toronto; the other in the "Sheri dan fila11 II, Pickering) . 2 indoor murals for <the IIStar Expansion ~Jorks" Computer Center, New York 2 indoor murals for the J.C. Penny llead Office,New York. KOSSO ELOUL SELECTED LISTING: 1972 -- "Bau-XIII Gallery, Vancouver - Dual Show with R. Letendre. 1I0utdoor Sculpturell - r·1ackenzieArt Gallery, Regina, Saskatchewan. -- 4th Annual Canadian Printmakersl Showcase • Carleton University, Ottawa. 1I0ntario Artists" Oakville, Public Library Centennial Gallery. "Sources II III - Cranbrook Academy Art Gall eri es. III8th f'lationalPrint Show" - Brooklyn f~useum. Benson Gallery - Bridgehampton, L.I., rle\l!Yorl<. (5 outdoor and 6 indoor sculptures) Summer 172. C.N.E. Art Gallery - Toronto "Artario '72 Shm'J". Commission: IIAlat" 61 x 161 X 41 stainless & ground work ~ placed at 'Greenwin Place', Bal1io1 & Pai1ton St., Toronto. "Artario '72" - participated in the multiple project of the Ontario Art Council. Artist-at-Residence: Seneca College Seneca College Lecture Series (summer). 1971 -- One-man show at Dunkelman Gallery, Toronto and O.K. Harris Gallery, N.Y. "Nowll .Environmental sculpture, h: 281 x 50' X 1661, steel, earth & marine plywood - Fanshawe College project under P.O.C.A.ls sponsorship. "Double Oneil Art Gallery of Onario - the Sam and Ayala Zacks collection. Received: Canada Council short term grant. 1970 113-Dinto the 701s" Travelling Shm'l organized by the Art Gallery of Ontario. -- uDouble-You" 11 ft. stainless, commissioned . by GreenwinCorp., placed at 111 Davisville, Toronto. -- "r'1eetll·18 ft. stainless, commissioned by J.D.S. :I.nvestments, 1111 Ffnch Ave. l'Jest,Toronto. 1969 . -- :One-!\1anShow: Galerie Sherbrooke, !\10ntreal. Artist-at-Residence: University of Toronto Faculty of Architecture (Lecture & Projects Cri ts.) Lectures: Universite Du Quebec, Montreal. 1968 -- One-f'1anShow: Jerrold fc10rrisGallery, Toronto. Collection: Northern & Central Gas Corp.; The Waxer Collection; Sam & Ayala Zacks Co 11ecti on. 1964 -- 1I0ptimax" h: 15' x 135' stone and concrete sculpture on Mount Royal Park, Montreal 1st Canadian Sculpture Symposion. IISplitll 8 ft. stone and steel sculpture exhibited on sidewalk on Bishop St. near Sherbrooke (1964-1968). One Man Show: Galerie Camille Hebert, Montreal. I PARTIAL BIBLIOGRAPHY: I -- Vie Des Arts' Numero 67 - IIKosso E1ou1: Now!1I ,1972 by Jean-Loup Bourget (Ete 1972) I 1972 -- IILandscape Architecture Quarterly - Oct. 1972 (Ill us. p. 15) 1972 -- "Printmaking Todayll - by Jules Heller 2nd edition (i11ust.) 1972 -- IIKosso Eloul: Unexplainable-UII - Ontario Art Counci 1, 1972. 1971 -- IIArtscanadall Vol. 156/157 liThe Razors Edge" • by Theodore Heinrich (Illust. 1971). 1969 -- IIArtscanadall No. 138/139. IIKossolI by Gilles Henault (Illus. Dec. 1969) 1968 -- IIArt in Architecturell by Louis G. Redstone • McGraw-Hill, 1968 1966 -- IIAujourd'huill No. 53. IILa Sculpture Dans L'Environement Architectural II par Simone Frigerive (Illus. pp. 105; Mai 1966). 1966 IIFortune II Apri 1 '66 "Scu1 ptors in the Factoryll A portfolio (Illus. pp. 140-145). 1965 IILos Angeles r!lagazinell Oct. 1965 - liThe Art of ~lelding 'Talent Together" by La\'lrenCe Allison. 1965 -- IICanad:ian Art II No. 96 - by rvli chae 1 Ball antyne (Ill us. p. 14-16; 1965) 1965 -- IIVie Des Artsll No. 37 - by Guy Viau (Illust. p. 26-31;)1965). 1964 -- "Art Internationalll lX/3 IlKossolI by Fernande St. tftartin - IILettre de ~'lontrealll 1965. 1964 -- Art Internati ona 111No. VIII - 9 - Nov. 1964 - by Fernanrle St. r,1artin. IIArt in Israelll "Dr. H. Gamzu - Tel-Aviv. -- IIIsrael Art" B. Tamuz - Jerusalem. -- IISculpture in Israelll Dr. H. Gamzu - Tel-Aviv. -- IIArt Israelll by HilHam Seitz - ~,1useumof r·1odern I Art, New York. * Listed at the National Gallery Documentation and Archives Section (Files of Canadian Material) SCHEDULED FOR 1973: One Man Show at Galerie de Montreal (May) One Man Show at York University Art Gallery (October) One Man Show at Dunkelman Gallery, Toronto (October) One r4an ShO"1at O•.J. Harris, New York, (November).
Recommended publications
  • 14Th Annual Report the Canada Council 1970-1971
    1 14th Annual Report The Canada Council 1970-1971 Honourable Gérard Pelletier Secretary of State of Canada Ottawa, Canada Sir, I have the honour to transmit herewith the Annual Report of the Canada Council, for submission to Parliament, as required by section 23 of the Canada Council Act (5-6 Elizabeth Ii, 1957, Chap. 3) for the fiscal year ending March 31, 1971. I am, Sir, Yours very truly, John G. Prentice, Chairman. June 341971 3 Contents The Arts The Humanities and Social Sciences Other Programs 10 Introduction 50 Levels of Subsidy, 1966-67 to 1970-71 90 Prizes and Special Awards 12 Levels of Subsidy, 1966-67 to 1970-71 51 Research Training 91 Cultural Exchanges Doctoral Fe//owships; distribution of 14 Music and Opera Doctoral Fellowships by discipline. 96 Canadian Commission for Unesco 21 Theatre 54 Research Work 100 Stanley House Leave Fellowships; distribution of Leave 27 Dance Fellowships by discipline; Research Finances Grants; distribution of Research Grants 102 Introduction 30 Visual Arts, Film and Photography by disciph’ne; list of Leave Fellowships, Killam Awards and large Research 105 Financial Statement 39 Writing Grants. Appendix 1 48 Other Grants 78 Research Communication 119 List of Doctoral Fellowships List of grants for publication, confer- ences, and travel to international Appendix 2 meetings. 125 List of Research Grants of less than $5,000 86 Special Grants Support of Learned Societies; Appendix 3 Other Assistance. 135 List of Securities March 31. 1971 Members John G. Prentice (Chairman) Brian Flemming Guy Rocher (Vice-Chairman) John M. Godfrey Ronald Baker Elizabeth A. Lane Jean-Charles Bonenfant Léon Lortie Alex Colville Byron March J.
    [Show full text]
  • Radiant Energy the Hard-Edged Abstractions of Rita Letendre, Doris Mccarthy and Janet Jones
    Radiant Energy The Hard-Edged Abstractions of Rita Letendre, Doris McCarthy and Janet Jones Reflecting on her earliest years at her grandparents’ farm in Drummondville, Quebec, Rita Letendre mused in 1969 that it was there “I learned to fight, fist fight. And I learned to draw.”i That she paired anger with art-making at the very onset of her life and practice is unsurprising: Gaston Roberge, in his essay for Woman of Light, a 1997 retrospective highlighting fifty years of Letendre’s works on paper, titled his first subsection “Rage” in deference to her difficult upbringing and the racism she encountered in small-town Quebec: “My childhood is like a serious injury that has never healed… very early in life, I got used to protecting myself against people,” he quotes Letendre.ii Wanda Nanibush, co-curator of the Letendre retrospective Fire & Light at the Art Gallery of Ontario in 2017, situated this emotion within the artist’s intersectional subject position: “Her rage could well have sprung up as resistance to the violence she experienced as a child just for being Abenaki; a society that kept many in grinding poverty and its attendant social problems; a culture of deep religious conservatism; and a ridiculous world where the fact of being a woman limited all of one’s endeavors.”iii Making art at mid-century was an embattled undertaking for a woman. To make abstract art as an Indigenous woman could only be harder. Anger was one motivation that allowed Letendre to crash through the barriers put in her path, but Letendre also chased light and held it in each of her canvasses.
    [Show full text]
  • The Theme of Fire Resource
    Teacher Resource FIRE TOM THOMSON RITA LETENDRE FIRE-SWEPT HILLS, 1915 TABORI, 1976 Fire is one of the four Classical elements of nature, along with earth, water, and air. It can symbolize many different things, including life and death, warmth and decay, desire and sustenance, love and tears. With all of these layered meanings, fire has been an important source of inspiration for numerous artists. In Tom Thomson’s Fire-Swept Hills, fire is a destructive element, leaving behind charred remains of the forest. In Rita Letendre’s work Tabori, on the other hand, fire represents spiritual passion, the flame that keeps us moving forward. ESSENTIAL QUESTIONS • What colours come to mind when you think about fire? • What images come to mind when you think of the word “fire”? • How does our relationship to fire change depending on the context? 1 continues > Teacher Resource continued SPOTLIGHT 1 TOM THOMSON, FIRE-SWEPT HILLS 1915 Fire Swept Hills shows the aftermath of fire—a formidable, destructive force. Tom Thomson. Fire-Swept Hills, Summer–Fall 1915. Oil on composite wood-pulp board, 21.6 x 26.7 cm. The Thomson Collection at the Art Gallery of Ontario. © Art Gallery of Ontario 69222 2 continues > Teacher Resource continued GUIDED OBSERVATION ELEMENTARY • Take 30 seconds to look at the details in this artwork. Write down five words that describe the landscape. • What season do you think this painting depicts? What time of day do you think the artist may have captured? What clues in the painting tell you this? • Look closely at how the artist has applied paint onto the surface of this work.
    [Show full text]
  • La Collection De Peinture Canadienne De La CIL / New Patrons of Art the CIL Collection of Canadian Painting
    Document generated on 09/29/2021 1:34 p.m. Vie des arts Le nouveau mécénat: La collection de peinture canadienne de la CIL New Patrons of Art the CIL Collection of Canadian Painting Paul Dumas Volume 21, Number 84, Fall 1976 URI: https://id.erudit.org/iderudit/54976ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this article Dumas, P. (1976). Le nouveau mécénat: La collection de peinture canadienne de la CIL / New Patrons of Art the CIL Collection of Canadian Painting. Vie des arts, 21(84), 38–92. Tous droits réservés © La Société La Vie des Arts, 1976 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 38 EXISTENCE DE LA COULEUR Paul Dumas Le nouveau mécénat: La collection de peinture canadienne de la CIL . EXISTENCE DE LA COULEUR 39 Les éléments les plus dynamiques du monde des affaires sont conscients des besoins sociaux et culturels — c'est-à-dire de la qualité de la vie — des populations qui les entourent, et cela consti­ tue, pour notre pays, un potentiel énorme. (Charles Lussier, Conférence prononcée à Toron­ to, le 7 mai 1976, devant l'Institut de Recherche en Dons et en Affaires Publiques.) 1.
    [Show full text]
  • 1975-76-Annual-Report.Pdf
    19th Annual Report The Canada Council 1975-1976 Honorable Hugh Faulkner Secretary of State of Canada Ottawa, Canada Sir, I have the honor to transmit herewith the Annual Report of the Canada Council, for submission to Parliament, as required by section 23 of the Canada Council Act (5-6 Elizabeth 11, 1957, Chap. 3) for the fiscal year ending March 31, 1976. I am, Sir, Yours very truly, Gertrude M. Laing, O.C ., Chairman June 1,1976 The Canada Council is a corporation created by an Act of This report is produced and distributed by Parliament in 1957 "to foster and promote the study and Information Services, enjoyment of, and the production of works in, the arts, The Canada Council, humanities and the social sciences." It offers a broad 151 Sparks Street, range of grants and provides certain services to individuals Ottawa, Ontario and organizations in these and related fields. It is also re- sponsible for maintaining the Canadian Commission for Postal address: Unesco. Box 1047, Ottawa, Ontario K1 P 5V8 The Council sets its own policies and makes its own deci- Telephone: sions within the terms of the Canada Council Act. It re- (613) 237-3400 ports to Parliament through the Secretary of State and appears before the Standing Committee on Broadcasting, Films and Assistance to the Arts. The Canada Council itself consists of a Chairman, a Vice- Chairman, and 19 other members, all of whom are ap- pointed by the Government of Canada. They meet four or five times a year, usually in Ottawa where the Council of- fices are located.
    [Show full text]
  • Heffel's $13.6 Million Fine Art Auction
    News release E.J. Hughes and Jean Paul Lemieux Paintings Lead Way in Heffel's $13.6 Million Fine Art Auction VANCOUVER - May 17, 2011, 10:00 p.m. PST A rare E.J. Hughes painting from the 1940s was the front runner at the Heffel Fine Art Spring Auction, going under the hammer for $1,140,750 (all prices include a 17 per cent buyers premium). Representing one of only a dozen Hughes paintings from the late 1940s, Coastal Boats Near Sidney, BC, a 36 1/8 x 48 1/8 inch oil on canvas attracted a lot of attention and soared past its pre-auction estimate of $700,000 to $900,000 in a three-caller bidding war. Excitement over Hughes works continued when Mouth of the Courtenay River, a 30 x 40 inch oil on canvas, signed and dated 1952, sold for $789,750. Heffel Fine Art Auction House recorded the sixth highest grossing Canadian fine art auction tonight at the Vancouver Convention Centre. The auction exceeded its conservative presale estimate of $8 to $12 million, selling $13.6 million worth of Canadian art. The $8.8 million afternoon session set a record for Post-War and Contemporary art. Two Jean Paul Lemieux works garnered significant attention. Dimanche, an oil on canvas, signed and dated 1966, created a new record when it went under the hammer for $819,000. Les Moniales, a painting that exhibited in Moscow when Lemieux travelled there in 1974 and 1975, broke this record and sold for an impressive $1,023,750. "The Hughes and Lemieux works in the sale represented both artists at their finest.
    [Show full text]
  • Where Text Translation Fails, Art Speaks
    TranscUlturAl, vol. 11.1 (2019), 114-124 https://journals.library.ualberta.ca/tc/index.php/tc Where Text Translation Fails, Art Speaks Lynn Penrod University of Alberta Using the words of Hans Christian Andersen, “Where words fail, music speaks,” and applying them to our thinking about the concept of embodiment as it relates to translation, we open our minds to a wider conception of the ways in which translation affects contemporary ideas of what the field encompasses. Most of us who teach, study, or practice translation are through force of habit accustomed to think of the act of translation as primarily a linguistic and cultural transfer between text and text. In the applied translation courses, we usually teach from one language to another—French to English, Chinese to German, Spanish to Farsi—eternally pairing two, sometimes quite obstreperous, frenemies: words for words, sense for sense, across the no man’s land we face. How to translate a word like patriot? How to handle an apparently simple idiomatic phrase? How to convey a culturally sensitive argument? As translators we love languages, spoken and written, and we love reading the printed word. Yet sometimes our text translations fail us, and it is at these times that art can step in to speak. We all recognize that text translation involves other kinds of knowing, other knowledge that exists well beyond linguistic competence. These ways of knowing involve a deep understanding of and appreciation for other forms of cultural expression: art, music, dance, political and social structures and tensions, history, religion, philosophy, mythology, poetry, architecture, and sports—just to name the most obvious.
    [Show full text]
  • See the Full Program
    MODERNISMS INSIDE & OUT The Fourth Conference of the Canadian Women Artists History Initiative 30 september - 2 october 2021 ACKNOWLEDGMENTS The fourth conference of the Canadian Women Artists History Initiative has been generously supported by sponsors whose assistance has made this event possible. We express our sincere gratitude to the following: Art Gallery of Ontario McMichael Canadian Art Collection Modern Literature and Culture Research Centre, Ryerson University Faculty of Fine Arts, Concordia University Office of the Vice- President for Research and Graduate Studies, Concordia University Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, Concordia University Title page art credit: Kathleen Munn (1887-1974), Untitled (Cows on a Hillside) [Detail], c. 1916, oil on canvas, 78.7 x 104.1 cm, AGO Purchased with funds donated by Susan and Greg Latremoille, Toronto, 2006, 2006/8 WELCOME Welcome to the 4th conference of the Canadian Women Artists History Initiative. The conference centres on Canadian women’s experiences of the complex twentieth- century phenomenon known as the modern – an omnibus term uniting modernism as an aesthetic style, modernity as a new mode of existence, and modernization as the forces of transformation that brought both about. How did the visual and material cultures of Canadian women position them inside and out of the modern? And how does the art that women made turn modernism inside-out? A new travelling exhibition at the McMichael Canadian Art Collection – Uninvited: Canadian Women Artists in the Modern Moment – offers an unparalleled opportunity to pose these questions and others. In its title, the exhibition nods to the feminist art history of the 1980s and ’90s, when scholars of European and American art argued that women had effectively been constituted as modernism’s excluded other.
    [Show full text]
  • Kazimir Glaz, the Centre for Contemporary Art and the Printmakers at Open Studio As Two Aspects of Printmaking Practice in the 1970S in Toronto
    KAZIMIR GLAZ, THE CENTRE FOR CONTEMPORARY ART AND THE PRINTMAKERS AT OPEN STUDIO AS TWO ASPECTS OF PRINTMAKING PRACTICE IN THE 1970S IN TORONTO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES AND RESEARCH IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY: ART AND ITS INSTITUTIONS BY ILONA JURKIEWICZ, BFA, HONOURS CARLETON UNIVERSITY OTTAWA, ONTARIO 1 DECEMBER, 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-87772-2 Our file Notre reference ISBN: 978-0-494-87772-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • A Matter of Abstraction
    A Matter of Abstraction The quest for abstraction plainly influenced developments in contemporary aesthetics in Québec and Canada. This exhibition from the Musée Collection re-examines that quest, which Montréal School artists pursued in a profoundly original way beginning in the early 1940s, simultaneously with the main international movements. The exhibition comprises 104 significant works by fifty-six artists who were among the most important figures in the artistic renewal that took place during these decades of change. The panorama it describes—extending over seventy years, from 1940 to 2010—focuses on Québec works in the Collection. Primarily thematic, the exhibition is laid out chronologically in a historical perspective. It highlights an experience of form and colour firmly rooted in the non-representational and non-verbal, mainly within the aesthetics of painting and sculpture—at times radically different, and continually renewed from the early 1940s on.1 Throughout the exhibition space, which is fluidly organized in ten open Josée Bélisle zones, vantage points are provided on large groups of works as well as on certain single pieces. The division Curator of the Permanent by section immediately sheds light on their diversity and Collection complexity while giving free rein to the expressive power evident in each of them. 1 In “Commentaries on Some Current Anchored both in the present and of the gestural impulse (Marcelle Words,” Paul-Émile Borduas wrote, in history, this exhibition begins Ferron, 1960), deep commitment “Abstract:
    [Show full text]
  • Prices Realized December 2020 Fall Live Auction of Important Canadian Art
    326 Dundas St West Toronto Ontario M5T 1G5 Phone: 1 (866) 931-8415 Email: [email protected] Prices Realized December 2020 Fall Live Auction of Important Canadian Art This document is for private informational purposes only and the information included herein cannot be published and/or reprinted without the expressed written consent of Cowley Abbott. Lot Item Description Price with Premium 1 CHARLES FRASER COMFORT "Yarmouth Light" oil on board 10 x 12 ins $5,040.00 2 JOHN WILLIAM BEATTY "Algonquin Park (circa 1914)" oil on board 8.5 x 10.5 ins $11,400.00 3 KATHLEEN FRANCES DALY PEPPER "St. Urbain" oil on board 12 x 14 ins $10,800.00 4 WALTER JOSEPH PHILLIPS "Summer Idyll" colour woodcut, mounted to card 18 x 12 ins $18,000.00 5 JEAN-PAUL MOUSSEAU "Sans titre" coloured inks on textured watercolour paper 11.5 x 9 ins $4,560.00 7 TED HARRISON "Yukon Priest" acrylic on canvas board 22 x 28 ins $19,200.00 8 DORIS JEAN MCCARTHY "Pangnirtung" acrylic on canvas 24 x 30 ins $18,000.00 9 JOHN GRAHAM COUGHTRY "Moreno" oil on canvas 54 x 48 ins $18,000.00 10 RITA LETENDRE "Envol" oil on canvas 8.25 x 10 ins $13,200.00 11 THOMAS SHERLOCK HODGSON "Non Objective (Bluish)" oil on board 41.5 x 23.25 ins $60,000.00 12 SOREL ETROG "Small Chair (Hand)" bronze 17 x 9.5 x 9.5 ins $18,000.00 15 FREDERICK GRANT BANTING "Island, French River, Ontario" oil on board 8.5 x 10.5 ins $31,200.00 16 DOROTHY ELSIE KNOWLES "The Noon Sun" oil on canvas 34 x 54 ins $8,400.00 17 JAMES EDWARD HERVEY MACDONALD "Surf, Barbados, B.W.I.
    [Show full text]
  • Art Matters the Magazine for Members of the Art Gallery of Ontario 2017 Vol
    ART MATTERS The magazine for members of The arT gallery of onTario 2017 Vol. 25 n o. 2 AGO GEORGIA O’KEEFFE NOW OPEN­­­. MEMBERS SEE IT FREE! LOOK FORWARD TO A BUSY SUMMER AT THE AGO Dear Members, Look:Forward is an exciting new project at the Gallery, ensuring that our best artwork is on display and honouring a long legacy of donor generosity. Look:Forward celebrates exceptional art by presenting the very best of our collection; it inspires meaningful and engaging experiences for our Members and visitors; and it keeps the AGO relevant to everyone by reflecting the vibrancy and possibility of our city and province. Happening now and unfolding through 2018, Look:Forward provides an intuitive journey through the galleries with art at every turn. We will show more art and tell more stories in various ways, with dedicated spaces for works by Indigenous artists, 300 per cent more space for our growing Modern and Contemporary Collection, prominent space for Photography on Level 1 and several galleries committed for Prints & Drawings out of the vaults. Get ready and Look:Forward! I am looking forward to other big moments this summer, including the opening of the revitalized Grange Park. More green space, a cool play area and a fitting new home for Henry Moore’s Large Two Forms! As a person new to this country, I am also excited about Canada 150. Here at the AGO, we will explore questions about Canada with some of the country’s leading artists through the exhibition Every. Now. Then: Reframing Nationhood, in addition to solo shows by pioneering abstract artist Rita Letendre and acclaimed artist Mark Lewis, both accomplished Canadians.
    [Show full text]