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Vie des arts

Texts in English Myra Nan Rosenfeld, Anne McDougall, Joan Murray et Helen Duffy

Volume 29, numéro 118, mars–printemps 1985

URI : https://id.erudit.org/iderudit/54188ac

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Éditeur(s) La Société La Vie des Arts

ISSN 0042-5435 (imprimé) 1923-3183 (numérique)

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Citer cet article Rosenfeld, M. N., McDougall, A., Murray, J. & Duffy, H. (1985). Texts in English. Vie des arts, 29(118), 91–94.

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Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ PARIS MUSÉE DE L'AFFICHE ET DE LA PUBLICITÉ, 18, rue de Par­ UNION CENTRALE DES ARTS DÉCORATIFS. 107, rue de Rivoli. DÉLÉGATION GÉNÉRALE DU QUÉBEC, 117, rue du Bac. adis. Jusqu'au 1* avril: Charlotte Perriand - Un art de vivre; A Jusqu'au 5 avril: Serge Tousignant, Photographies: Du 10 Jusqu'au 15 avril: Privat-Livemont; Jusqu'au 20 mai: La Pu­ partir du 1* mai: Amado, Sculptures; A partir du 8 mal: avril au 17 mai: Francine Simonin, Gravures et dessins; Du blicité au Musée de la Publicité; A partir du 28 mai: Les Chefs- Félicien Rops, Peintures, illustrations et gravures. 22 mai au 28 juin: Raymonde Godin, Peintures. d'œuvre du Musée de la Publicité. CENTRE CULTUREL CANADIEN, 5, rue de Constantine. BORDEAUX MUSÉE D'ART MODERNE DE LA VILLE DE PARIS, Palais de Jusqu'au 28 avril: Pierre Ayot, Techniques mixtes; Kirk tou Tokyo, 11, avenue du Président-Wilson. gas, Photographies, Du 9 mai au 9 juin: Artistes du Manitoba; MUSÉE ET GALERIE DES BEAUX-ARTS. A partir du 24 avril: Marc Riboud, Photographies; Rétrospec­ A partir du 20 juin: Biennale de la Nouvelle Tapisserie du A prtir du 10 mal: Hommage à Odilon Redon; A partir du 11 tive de Robert et de Sonia Delaunay; A partir du 1* mai: Quebec. mal: Cinquante ans d'art espagnol, de 1880-1936. Hommage à André Wamod, à travers les collections du Musée.

TEXTS m i x<. i ISI i

THE NEW MUSEUM OF MODERN ART OF NEW YORK by Myra Nan ROSENFELD On May 7,1984, the Museum of Modern Art in New York, which possesses the greatest col­ lection of twentieth century art in the world, ded­ icated a new wing, as well as the complete renovation of its original building. The new west wing is surmounted by an apartment tower, while the Garden Hall, overlooking the sculpture garden, contains escalators and entry vesti­ bules to the galleries. Thus, one hundred and seventy thousand square feet of floor space was added to the total floor surface of the museum, creating twice as much space as before for the permanent collection and temporary exhibi­ tions. The new west wing and renovation of the original building are the work of the American architect Cesar Pelli, the dean of the Yale School of Architecture. Peili has succeeded in a major way in creating an architectural environment which is both beautiful in itself and in harmony with the works of art. The architect and the cu­ rators of the Museum of Modern Art are to be ap­ plauded for the success of their efforts. 1. MUSEUM OF MODERN ART Front Entrance.

KENNETH LOCHHEAD: several deliberate style changes. Consistent Lochhead became obsessed by the Prairie "BELLA FIGURA'' IN OTTAWA with them all is the seeking after the two- flatness, saying he turned into a "Western Ro­ dimensional beauty and tapestry achieved by mantic", in love with the huge sky, the empty By Anne McDOUGALL Henri Matisse. spaces, the floating or invisible horizon. He did Kenneth Lochhead is a Matisse man, a De "Painting is dealing with what you are", a series of surreal paintings with puppet-like fig­ Chirico man, a "bella figura" man. It doesn't Lochhead says. For him this is an explosion of ures that completely filled the space of his can­ sound much like Ottawa! Yet this interesting colour and space. Colour dictates the form and vases and gazed off into space with haunting productive artist lives and paints and lectures in fills the space with authority, instead of following loneliness, rather like De Chirico. Moon-faced the capital, in a quiet family life of great tranquill­ after drawing. Colour is beauty and for Loch­ robots, in "The Kite" 1952, "The Dignitary" and ity and happiness, without much publicity, in head it becomes a siren call, a constant search "The Bonspiel" 1954 stand like statues in shal­ spite of a career that includes major innovative for the "bella figura" of real aesthetics and high low depth, funny and whimsical. Was this a work of his own (still underway), and a lasting style. transplanted Eastern poking gentle fun at the flat landmark in the Canadian art world: the found­ In 1950, the tall, angular graduate in Art re­ Prairie folk? Whatever it was, it gradually ing in 1961 of the famous "Regina Five" paint­ turned to his hometown and proposed the first changed to a style that left human beings out al­ ers in Saskatchewan. art courses at the newly-founded Carleton Uni­ together. Lochhead went abstract. "Blue Exten­ Lochhead was born in Ottawa, May, 1926, versity. In 1949 he won the O'Keefe Competition sion" and "Dark Green Centre" are considered only a few streets from where he is living today. for Canadian artists under 30, and his own ca­ genre masterpieces of rectangle art. His father was a microbiologist; his mother he reer was on its way. He won the 1955 Regina Lochhead is frank in admitting the influence remembers "smiling in a sunlit kitchen". A cou­ Branen of the Canadian Legion award for a mu­ of the New York school. The critic Clement ple of major moves turned him into an important ral decoration called Lest we forget, done in an Greenberg admired the "big attack" and colour Canadian artist. In 1948 he went to Pennsylva­ austere, old-school style. painting. Lochhead began turning out very large nia Academy in Philadelphia, close to the By 1950 Lochhead had been appointed Di­ works, often using a stain technique with thinned Barnes Foundation of Merion, Pennsylvania. rector of the School of Art at Regina College, as paint to get a luminous effect and a spray gun There he saw and was forever captivated by the well as Acting Director of the Mackenzie Art Gal­ for control. Limpid, air-brushed forms appear in Post-Impressionists, in particular Matisse. The lery in the same city, fairly responsible jobs for a "Soar Colour", "Price Colour", Tinge Colour", colour - the flatness - the sheer magic of Ma­ 24-year old. He would maintain this administra­ "Winter Note" and "Blue Reach". They are tisse's work struck deep into the soul of this tive-teaching-painting balance throughout his evanescent, pastel and lovely, like a bank of Scottish Canadian and has stayed with him ever career combined with a public-spirited interest sweet peas blowing in the wind. The fresh col­ since. His own work has proceeded through in community art needs. our and joyous palette are distinctively Loch- 91 head. Black, brown, burnt umber, deep purple 2. Kenneth LOCHHEAD would not appear in his work until much later Outer Reach, 1971. when he used them on enamel to get a jewel ef­ Colour lithograph on fect. The occasional critic like David Watmough wove paper; 57,6cm x 76,5 found Loch head's 1960's exuberant response to colour repetitive, "like listening to all-Bach for hours on end". It seems a cranky remark. What better composer, if you had to choose one only. Furthermore Lochhead has dipped and swooped in style changes that make him any­ thing but repetitive. He has held to one early committment, how­ ever. Ever since the Barnes Foundation, he has tended to favour a two-dimensional surface. Ucelio did this first. Masaccio had flirted with it; Giotto did not. Matisse leapt past drawing into form, in an overall, large sense. Lochhead loves the Italians, as opposed to the German school of reference. When he visited Rome in 1959 he felt at home with the entire ambiency of insistence on beauty. He experienced "bella figura" at first hand. On the Prairies he was free to pursue his own Lochhead likes working with architects on calaesthetics" or Bird Talk. A Chagall-like tack, like the earlier Western painter L.L. Fitz­ early stages of a building. In Regina, he was playfulness pervades the work. Some of these gerald who went his way, far from the pressure connected with the appointment of Yamasaki, carefree light-hearted designs have been woven from Eastern (Ontario) painters to join and paint the first architect for the Wascana Centre. In into carpets by a firm in Hong Kong. They have like the Group of Seven. With this freedom Winnipeg he had good results working with the a carved effect, with light dominating. One of comes a sense of isolation and Lochhead found Winnipeg architect Guy de Roza. He has a ge­ them lies in Lochhead's living-room and the he was eager to continue the Emma Lake work­ nius at avoiding confrontation and seeking in­ peach, green, cream motifs make the room sing shops, begun by Jack and Doris Shadbolt in stead a consensus, even among temperamental with colour and joy. 1955. Each summer New York artists such as artists! In Ottawa he has become involved with He admits to a "return to nature". After the Barnett Newman, Kenneth Noland, Jules Olit­ the National Capital Commission, where the Art starkness of the Prairie experience perhaps the ski, Clement Greenberg were invited to artists' Advisory Committee is suggesting new con­ gentle rural beauty of much of Ottawa has had workshop at Emma Lake. What resulted was an cepts in the development of parks through close an effect. He finds the effect of "place" impor­ enthusiastic experimentation with techniques artist/architect collaboration. It is consistent with tant. Lochhead has made a number of choices like "colour field" that brought a flowering of Lochhead's own ability to change a medium, or in life: in media, in the place he lives, his style of cultural activity to the arid Prairie cultural scene. direction, as circumstances change. And also painting. For a Celtic Scot, he seems to harbour Lochhead continued his particular emphasis with his public-spirited involvement. He was in­ no dark neuroses. To visit his studio is to be daz­ on painting with other Regina painters such as volved with the first meeting of CAR (Canadian zled by all kinds and sizes of experiments. Can­ Arthur McKay, Ronald Bloore, Douglas Morton Artists' Representation) at the National Conven­ ada, and Ottawa in particular, are fortunate to and Ted Goodwin who were later to be named tion in Winnipeg, with the founder of this orga­ have an artist like Kenneth Lochhead whose own The Regina Five. Lochhead says Roy Kiyooka nization, the late Jack Chambers. He is satisfied passionate love of beauty drives him into shar­ should also be included. They have all made it helped pull artists together, but got out when it ing it with the people and the city around him. their mark. became too political. He is a gentle Renaissance man whose stu­ Lochhead likes Jackson Pollock's decentral­ By the time Lochhead left Regina in 1964 he dents perhaps best know that the real meaning ization of points of view, which gives many flat was well-known in art circles and had been of "bella figura" is courage. surfaces. He admires Kline and De Kooning, shown by the National Gallery all over Canada also Zen Buddhism. He has been described as as well as at Warsaw in 1961-2 and Tunis, 1962. working in a direct line from the Symbolists (such Institutions like the Montreal Museum of Fine as Mirô) whose influence crossed the Atlantic at Arts, Sam Zacks Collection, F.S. Mendel Gal­ the start of World War II with Surrealist emigres. lery in Saskatoon, CIL Collection and many pri­ James Purdie, writing in the Globe and Mail, vate collectors had bought his work. 1977, notes Kenneth Lochhead's freshness. He After a period teaching at the Manitoba MICHAEL SNOW'S WALKING WOMAN worked through the geometric 60's, not very School of Art and in Toronto, he moved to Ot­ By Joan MURRAY radically, but turned to acrylics for a fresh, new tawa where he became a professor at Ottawa approach in a painting like "Dyke Blue" of 1965. University, changed his painting style, remar­ In 1979, the National Gallery of Canada or­ Not surprisingly, Lochhead's approach con­ ried Joanne Bryers, museum consultant, and ganized a show of Michael Snow's work in pho­ tinues into his teaching. He starts students with now has two young daughters. He lives in a tography, film and slides for the Centre Georges- charcoal to feel "light and dark". He tells them house filled with paintings of his own and also of Pompidou in Paris. It was not a retrospective, al­ to "pick a colour and give it a shape". Then of his son, Colin, opposite a water-lily-filled inlet à though three sculptures were included in the se­ course to cover the paper. He felt Matisse opens la Monet, in one of Ottawa's surprisingly beau­ lection. Now a retrospective of an earlier section the instincts to form through colour. He speaks tiful corners. of Snow's work, his image of the walking woman of the great Chardin. He tries to avoid an ava­ An exhibition in 1980 at Ottawa's Robertson which he used from 1961 to 1967, has been or­ lanche of slides which push away the beauty of Galleries revealed the new Lochhead. Instead of ganized by the Agnes Etherington Art Centre in real painting. He says thinking about art is only the big attack colour field, viewers were greeted Kingston. (In January 1985 the exhibition closes useful if it employs one's intuition. with Constable-like trees, light and dark among at the Art Gallery of Ontario in Toronto). Still another dimension entered this artist's life branch and sky, pools of shadow at the bases. Snow's Walking Woman (W.W. he called her), when he began to paint for and take an interest Had Lochhead succumbed to his hated per­ is a weathervane to a certain period of his art. in the environment we share. In 1958 he won a spective? Certainly he gives more place to dis­ The generalized side view of the plump, striding Department of Transport commission ($20,000) tance, in his new style, but the actual trees are figure in a tight skirt was the way Snow discov­ for the Gander airport. No airplanes were al­ shallow and up-front, in the flat planes so be­ ered to spell the weathers of his heart. In es­ lowed and so two trumpeter swans, a man jug­ loved in Matisse. Lochhead is enjoying the sence the image was serial, like Bush's curtains gling apples, a woman in an apron swirl across spontaneity of pastels. He is still seeking colour of colour which he developed into his classic the mural. With his first wife, Pat, who made and light. The result is a romantic mood, free of theme in the same period. But the Walking beautiful cotton-backed banners, 33' high, he sentimentality. One of his current assignments Woman was figurative. She therefore conveyed helped decorate the Manitoba Centennial Con­ is a set of three Rivers for the new Rideau Club: the sexual reference of the younger generation cert Hall in Winnipeg. For External Affairs he did the Gatineau, Ottawa and Rideau rivers, painted of painters like Dennis Burton with his Garter- five panels in mauve and yellow pastels that in 3' x 4' dimensions. These are now installed beltmania or Joyce Wieland, who was then hang close together in a group of five, outside and add history and adventure to the new club. Snow's wife. Painters of the 1960s used serial the Passport Office, and give a lush tropical at­ In the spring of 1984 Lochhead gave an exhi­ images like scorecards: we are able to recog­ mosphere for travellers. bition of enamel paintings called "Ornithologi- nize instantly the team/artist who was playing.

92 Like many artists from the time of Mallarmé, dressed images, or in Une nuit d'amour (1963) Snow has always felt that art was a game. "I where he has folded up pictures of her. (This make up the rules of a game," he has said, "and mood would climax in 1970 when Snow shows then I attempt to play it." In choosing the Walk­ himself having sex with the image in Projection). ing Woman he reacted against abstract expres­ 1963 is still a year in which he's having fun. The sionism and the works he had painted in his Walking Woman walks into one side of a paint­ immediate past, which, no matter how austere ing called Estrus. At the other end is her cut-out. and plain, were painterly. In Theory of Love In Switch he plays on drawing first one side, then (1961), for instance, Snow showed the rudi­ the other of her outline. Or she may appear on ments of sex, a red bar and a red circle sans the her side in Half-Slip. space for the bar. in Narcissus Theme of the By 1964 he was back to sex. She appears na­ same year, he used similar simple geometric ked as a print in Register. Then she almost dis­ shapes. The Walking Woman was a way of clar­ appears. In The Window, we see only her face, ifying his material and a way of developing vari­ and in 1965, he used her, seen through plexi­ ety, though he used the same subject. glass, in installation pieces, sometimes with Discovering her in many different media he dis­ twelve different parts. She'd become an art covered himself. There was something hokey work. He showed her walking in front of a Mark about her image, something raffish and casual. Rothko painting in Gallery. Now begin his clown­ She wasn't intended to be more than a wry com­ ing acts. She becomes a collage, a sort of merz- ment, especially at the beginning. But over the bild, rolled up and weathered. He's begun to years, she developed. By the time he was fin­ have mixed feelings about her, like the painting ished with her, Snow had become a sculptor, and of the same name. She may appear with differ­ knew which way to go. ent hair, skin, dresses. At last, at Expo, she be­ Snow wrote that "my subject is not women or came a stainless steel sculpture, criss-crossing a woman but the first cardboard cutout I made." the room. At first she wasn't a stereotype. In drawings of The Walking Woman was more than an 1961 he shows her raising a leg, or in pants. amusing joke that took off; she became an index Early on, he painted her more loosely. We dis­ to a certain period of Canadian art. Her image cover, for instance, that Snow was a pretty col- invokes a time frame to us, years when art was ourist. In Blue Leaving (1961), for instance, he exciting. "There isn't a single content to the applied green, brown and blueish red. There's Walking Woman," Snow said recently. "Every something charming to the walking woman, work was of a different kind, generated a differ­ even wispy: she leaves the room in Exit (1961), ent content." In a way, using her in his art was or appears in the subway in 1962 (he planted an like his attempt as a jazz musician to enlarge the image of her there). She can recall works by Paul scope of his improvisation (he still plays weekly Klee, Snow's early fascination before he fell in stints at Toronto's Music Gallery). " 'Swing' is love with Marcel Duchamp. Sometimes he uses generated by the relationships between the her in a more complex way as in Venus Simulta­ shitting accents of 'foreground' instruments and neous (1982), where she appears in blue, black, the relatively steady beat of the 'background' and Indian red. Works like this painting are much rhythm section," Snow once wrote about his 3. Michael SNOW the best in the show. music. From 1961 to 1967, the Walking Woman Spring Sign, 1961. By 1963, she's more sexy as in Beach-Hcaeb provided the background section to his im­ Weathered oil on plywood; where Snow plays with the application of paint, provisations as a painter. "Swing" is what her 154,9cm x 49.8 Olympia where she appears nude along with five graceful image gave his work.

WHISTLER'S ETCHINGS had exerted a strong influence at a amination. Although the fine etchings given time, among them Rembrandt, lend themselves to accurate repro­ Dr. Katharine A. LOCHNAN, The Guardi, Turner and Hiroshige. duction, the quality, texture and tonal­ Etchings ot James McNeill Whis­ Whistler was born in Lowell, Mas­ ity of the selected paper is inevitably tler. Toronto, Art Gallery of Ontario, in sachusetts, in 1834, and spent most lost in the process. However, the association with Yale University of his childhood in St. Petersburg, technical information included in the Press, (New Haven and London), Russia, where he began to study book adds details of great signifi­ 1984. 308 pages; 297 illustrations in drawing at the Imperial Academy of cance. Dr. Lochnan writes with an in­ black on white. Fine Arts. This was followed by three tensity and affection that animates her In a year that marks the 150th an­ years in the cadet corps of the United subject and brings to light historical niversary of James McNeill Whistler's States Military Academy at West references that will be new to all but a birth, this important book commands Point, and a brief training period at the handful of scholars. She guides the special attention. Written by Dr. Ka­ U.S. Coast Survey's map-drawing reader through the complex record of tharine A. Lochnan, Curator of Prints and etching departments in Washing­ the artist's career and private life with and Drawings at the Art Gallery of On­ ton. At 21, he left for Europe and never many fine insights and an abundance tario, it is the first major monograph on returned to his native country again. of direct quotes. Most importantly, she this subject and culminates nine years He died at his Chelsea studio in captures the essence of Europe's ar­ of intensive research. London in 1903. tistic climate in the second half of last Dr. Lochnan organized an exhibi­ Whistler was the proverbial Ameri­ century when the burning question tion of the same title in collaboration can expatriate at the leading edge of of "art-for-art's sake" preoccupied with the Metropolitan Museum of Art European art of his time and achieved artists and critics and led to bitter in New York, where it opened in Sep­ serious recognition as a painter and disputes. tember 1984. It was shown at the Art etcher, and as a raconteur equally at Whistler was an extraordinary man, Gallery of Ontario from November ease in the Paris salons and in Lon­ and the book lets us look at his work 24th to January 13th, 1985. Among don's fashionable art circles. His ex­ in an entirely new light. the 230 works were 182 etchings and perimentation with old handmade Helen DUFFY drypoints by Whistler himself, juxta­ European and lustrous Japanese posed with key works by artists who mulberry-bark papers bears close ex­ 93 picion, et de ramener la communication et les éclats d'aujourd'hui étaient frontons, Watteau les formes qu'elle utilise, donc l'art tel que colonnes et escaliers. suite de la page 23 le définissent nos sociétés, au seul do­ Qu'il soit marbre ou bois, l'art est une maine où elles existent, hors de la maison énigme. La trop simpliste formule de Chaque génération, chaque expert, et des raisons, des formules, des usages, Nietzsche appelant de ses vœux un art «tel en fait, chacun de nous s'est fait une cer­ des règles, des codes, des prescriptions: une flamme claire, jail lie dans un ciel sans taine image de Watteau. La grandeur de l'intensité. nuage» a été périmée à l'instant même où l'artiste réside sans doute dans la multi­ C'était ramener l'attention sur l'acte elle a été écrite. Comme si l'art pouvait être plicité des interprétations que suscite son créateur. C'était en quelque sorte mettre en jamais une lueur dansante sur un fond de œuvre et qui ne l'épuisé jamais. L'En­ parallèle et à égalité l'acte fondateur, le sérénité. Vouloir nous faire croire à ce rêve seigne de Gersaint, son testament et peut- créé, la pensée fondatrice, le mythe. Ma­ moustachu est un mensonge paternel qui être son œuvre la plus achevée, n'est pas nière bien cruelle de mettre en doute tout se paie tôt ou tard. que la simple description de la boutique notre système. L'esprit occidental est si ré- d'un marchand de tableaux du Pont- fractaire à une perception globalisante Notre-Dame. Dans cette toile où le regard qu'au lieu de libérer l'intensité et de la du peintre, absent de la scène, se pose sur prendre comme un moyen de communi­ des personnages qui examinent attentive­ cation, il a suivi son penchant et a préféré KENNETH LOCHHEAD ment de la peinture, l'artiste nous donne passer au crible critique l'acte créateur suite de la page 39 l'emblème du bonheur de peindre, consti­ pour le diviser par chacun de ses consti­ tutif pour lui du bonheur de vivre. Ce bon­ tuants. Ainsi va notre monde! Kenneth Lochhead avoue son retour heur malgré les avatars qu'ont subis ses Selon certains, les idoles et les masques à la nature. Après l'austérité de l'aventure toiles, Watteau peut encore nous le faire nègres sont responsables de la désagréga­ de la Plaine, il n'est pas impossible que la partager pour peu qu'à son exemple il tion de la représentation des mythes. Il se­ douce beauté rurale qui imprègne une nous soit possible de faire coexister en rait plus juste d'accepter que l'esprit bonne partie de la ville d'Ottawa ait pro­ nous le recueillement face au réel et l'op- occidental, dans son ensemble, a mal ré­ duit son effet. Lochhead reconnaît que verture à une mystérieuse absence. pondu à la question essentielle posée par l'influence de l'endroit est importante. De ces yeux exorbités. Pourtant, c'est en in­ fait, cet artiste a plus d'une fois dans sa vie tégrant un matériau nouveau qu'une so­ fait un choix, que ce soit en regard du ciété prouve, encore une fois, non moyen d'expression, du lieu où il a décidé seulement ses facultés créatrices, mais en­ de s'installer ou de son style de peinture. LE MARBRE ET LE BOIS core sa vitalité. Bien qu'à un haut niveau Et pour un Écossais celte, il ne semble pas on s'interroge: la seule parade d'une suite de la page 29 nourrir une névrose cachée. La visite de simple consommation accélérée et accrue son atelier s'avère fascinante par ce qu'elle africaines présents et passés puisque Les est une proposition dérisoire que l'on es­ procure d'expériences de toute espèce et Demoiselles d'Avignon doivent probable­ père être seulement les prémisses d'une de tout niveau. Le Canada, et Ottawa plus ment plus aux fresques catalanes ro­ future et meilleure compréhension. particulièrement, ont l'avantage de pos­ manes, donc à l'Euphrate, qu'aux A-t-on assez entendu prôner les qua­ séder un artiste comme Lochhead, qui fait masques nègres. A la suite de ce grand ar­ lités admirables des dieux grecs, du profiter sa ville et les gens de son entou­ tiste, une très petite minorité du monde marbre, de leurs formes. Au nom de rage de l'amour passionné qu'il voue à la occidental a bien voulu tourner les yeux, l'équilibre, de l'harmonie, de l'esprit et du beauté. Kenneth Lochhead a tout du gen­ au prix de combien d'équivoques, vers ces corps sains, des plus hautes vertus viriles, tilhomme de la Renaissance, et ses étu­ bois et ces fougères arborescentes taillés à des délicieuses délicatesses féminines, diants savent peut-être mieux que grands coups. Porteurs de mythes, débor­ sans oublier les vertus impérissables des personne que «bella figura» signifie en vé­ dants de forces, chargés de rumeurs, de mères dévouées, depuis les Romains qui rité «courage». fluides et d'ondes, mystérieux pour nous, leur étaient redevables, les pires idéolo­ (Traduction de Laure Muszynski) ils ont eu le grand mérite d'exalter l'am­ gies ont essayé de nous entretenir dans la biguïté, alors que nous la tenions en sus­ nostalgie factice des temps où les débris et English Original Text, p. 91

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Claude-A. SIMARD Nature-morte, 1984.

wUR™r? A 0TTAWA HULL HAWKESBURY ROUYN SOCIETE NATIONALE MAHEU NOISEUX-COLLINS BARROW VAL DOR AMOS LASARRE TIMMINS MONTREAL BUREAUX A VANCOUVER CALGARY EDMONTON WINNIPEG LAVAL QUEBEC STE-FOY. LEVIS SAINT-ANSELME TORONTO HALIFAX ET AUTRES VILLES DU CANADA THETFORD-MINES. LAC MEGANTIC. MONCTON SOCIETE INTERNATIONALE FOX MOORE INTERNATIONAL CAMPBELLTON ET FORT LAUDERDALE

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