Pierre Alechinsky Cobra Vivant Pierre Alechinsky Cobra Lives Jean-Loup Bourget

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Vie des arts

Pierre Alechinsky Cobra vivant Pierre Alechinsky Cobra Lives Jean-Loup Bourget

Volume 22, Number 90, Spring 1978

URI: https://id.erudit.org/iderudit/54844ac

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Publisher(s) La Société La Vie des Arts

ISSN 0042-5435 (print) 1923-3183 (digital)

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Cite this article Bourget, J.-L. (1978). Pierre Alechinsky : cobra vivant / Pierre Alechinsky: Cobra Lives. Vie des arts, 22(90), 58–93.

Tous droits réservés © La Société La Vie des Arts, 1978 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/ PIERRE ALECHINSKY cobra vivant

Jean-Loup Bourget

Pierre Alechinsky a reçu en 1976, pour l'ensemble de son œuvre, le Prix Andrew W. Mellon, d'un mon tant de 50 000 dollars, qui lui vaut en outre une rétrospective au Musée des Beaux-Arts du Carnegie Institute de Pittsburgh. Cette exposition se rend en suite à Toronto, à l'Art Gallery of Ontario1. D'autre part, des œuvres récentes d'Alechinsky ont été récem ment présentées à la Galerie Lefebre de New-York. Simultanément, sont publiés, par le Carnegie Institute, Pierre Alechinsky, Paintings and Writings et, par Abrams, Alechinsky, ouvrages réunissant des textes d'Ionesco, d'Alechinsky, des reproductions (dont plu sieurs lithographies originales) et une documentation très fouillée sur la vie du peintre2. En 1966, Alechinsky peint à l'encre sur papier marouflé Cobra vivant, titre, signe et manifeste qu'il pourrait aussi bien reprendre aujourd'hui et qui pour rait aussi servir à définir l'ensemble de son œuvre. Pour certains historiens de l'art, en effet, Cobra est mort, n'ayant vécu que de 1948 à 1951; tel, apparem ment, n'est pas l'avis d'Alechinsky. Cobra, c'est-à-dire COpenhague-BRuxelles-Amsterdam, les villes d'où étaient originaires Jorn, Pedersen, Dotremont, Appel (avec ces deux derniers Alechinsky collabore tou jours), Constant, Corneille, ... un mouvement que la géographie inscrit dans l'aire expressionniste, qui cousine avec le surréalisme et qui apparaîtrait comme le pendant de l'abstraction lyrique américaine s'il n'était pas plus lyrique que vraiment abstrait. Ce qu'il est intéressant de noter, c'est que Cobra (qui, à l'instar du surréalisme, voulait être simultanément peinture et la Bible, que toute l'Europe du Nord semble se con 1. Pierre ALECHINSKY écriture) s'exprimait en français, avec une fantaisie certer pour inventer le style qui veut être le plus Alice grandit. 1961. bien différente de ï Angst expressionniste. Aussi, que gréco-romain possible, le néo-classicisme (mais où fera 205 cm x 245. Cobra était gestuel, que, selon le juste mot de Jorn, retour, chez Blake ou chez Runge, le refoulé de la l'automatisme de qui s'exprime doit être physique couleur), que Van Gogh va peindre en Arles. Fin du autant que mental (différence fondamentale d'avec le siècle (le 19e) qui est un tournant de l'histoire: tandis surréalisme: opposer aux toiles de Magritte, par exem que, non loin de là, à Aix-en-Provence, Cézanne inau ple — encore que certains dessins de Magritte res gure le modernisme mais toujours dans le cadre de la semblent à s'y méprendre aux peintures d'Alechinsky). tradition occidentale et méditerranéenne (tradition Ce mouvement qui s'intègre harmonieusement à la que, quelles que soient les apparences, poursuivra et tradition de la peinture occidentale en désigne en fortifiera Picasso), Gauguin le sauvage, comme Rim même temps la rupture. Depuis des siècles, les pein baud en poésie, libère d'un coup tous les refoulés de tres du nord de l'Europe font la preuve de leur origi cette tradition rationnelle et réaliste: le primitivisme, nalité, mais c'est comme malgré eux. Ils s'efforcent, l'exotisme, le japonisme, l'art populaire, l'esprit d'en avec, semble-t-il, une parfaite bonne foi, de se sou fance, ... 1. Du 10 mars au 20 avril 1978. mettre à une tradition qu'ils révèrent (gréco-latine ou La rupture effectuée par Gauguin signifie qu'il est 2. Les Editions Yves Rivière — judéo-chrétienne) et qui pourtant leur a été imposée, désormais possible d'appartenir à la tradition tout en Arts et Métiers Graphiques parfois par la violence. C'est ainsi que Durer se met à regardant ailleurs (c'est le phénomène, bien connu de ont récemment publié l'école italienne, qu'Anvers épouse le maniérisme, que la 4e République, de la double appartenance). Double, Alechinsky — Peintures et Écrits, diffusé, au Canada, par Rubens s'inspire des Vénitiens, que Rembrandt illustre ou triple, ou multiple. C'est ainsi qu'Alechinsky: les Éditions Flammarion.

58 Les peintres

Coll. de l'artiste. 2. Le Complexe du Sphinx. 1967. 160 cm x 151.1. New-York, Musée d'Art Moderne.

59 Les peintres

1) ne récuse pas sa petite patrie belge. Il rend calendrier aztèque, vert salade et mauve comestible, 3. De deux choses l'une, I960. notamment Hommage à Ensor (I960) auquel l'appa à'Astre et Désastre (1969), qui sert de couverture aux (Gracieuseté du Musée des rente sa veine humoristique, caricaturale; sa grand- beaux livres publiés par Pittsburgh et Abrams. Beaux-Arts de l'Ontario.) mère possédait une gravure d'Ensor. Il peint les Gilles Par ailleurs, il dialogue avec la tradition du mo de Binche. Il se dit grand lecteur de bandes dessinées, dernisme occidental: il peint, à la suite de Matisse, un grande spécialité belge, évoque en ces termes son Luxe, calme et volupté (1969). Matisse à la fin de sa voyage au Japon: Tintin chez les calligraphes, épisode vie atteint avec ses papiers découpés à la couleur pure, inédit du Lotus bleu. Effectivement, petit, malicieux, solaire, qu'on n'a pas manqué d'accuser, ainsi que rouquin, il a, à cinquante ans, quelque chose de l'éter celle d'Alechinsky, d'être décorative. Comme les au nel jeune homme à la houppe et aux pantalons de tres membres de Cobra, il est bien de son époque. Il golf; apprécie le jazz. Appel peint Dizzy Gillespie; adoles 2) Comme Ensor, il est un peu citoyen de l'Extrê cent, Alechinsky écoute Django Reinhardt, et, lors de me-Orient, Chine et Japon. Il a réalisé un film sur la son premier séjour à New-York, John Coltrane, The- calligraphie japonaise. Il ne craint pas d'évoquer Le lonious Monk, Duke Ellington. De façon appropriée, Fantôme d'Hokusai (1976). Sa technique (son pin c'est Michel Portai, même expression personnelle, ceau) appelle la Chine ou le Japon; ses peintures même humour, qui signe la musique du film Alechin récentes (exposées chez John Lefebre) sont à l'acry sky d'après nature (1970). Il aime le cinéma, et sa lique — rouge, violet, bistre — sur de grandes feuil technique du cadrage et du montage (à partir de les de papier de riz chinois, certaines froissées, d'autres Central Park, 1965, jusqu'à Souci quotidien, 1975, et non, qu'Alechinsky fait venir spécialement par rames au-delà) doit peut-être quelque chose à cette forme entières. De façon générale, il peint par signes (le d'expression, aussi bien qu'à la bande dessinée. Japon est, selon Roland Barthes, l'Empire des Signes) : Il a déclaré lui-même que lorsqu'on se rend compte union indissociable d'un signifiant et d'un signifié, qu'on appartient à une chaîne, on peut jeter la chaîne dessin qui se fait couleur, et inversement, peinture par dessus bord, on est libre. Tous les ancêtres d'Ale qui se fait écriture, et inversement, impossibilité de chinsky, au lieu de peser sur lui, l'entraînent, comme distinguer entre expression et figuration, lyrisme per des ballons, vers les hauteurs. Un père juif russe, une sonnel et peinture (depiction) de la création. Bes mère franco-belge. Sur le plan métaphorique, à part tiaire, monstres, vers, avortons, reptiles (cobras), oi Ensor et (par implication) Gauguin, on pourrait en seaux (c'est la même chose aux yeux de la paléonto core citer Jarry pour le goût de l'écriture, du jeu avec logie). Chantre de la création, d'une faune et d'une les mots, et Victor Hugo dessinateur et décorateur flore immémoriales, préhistoriques, mythologiques. (les pyrogravures d'inspiration chinoise pour Haute- Orphée charmant les animaux. Tout ceci en couleurs à ville-Fairy, la maison de Juliette Drouet à Guernesey). la fois vives et tendres. Violets, jaunes sublimes (le Je me bornerai à deux exemples précis, empruntés au noir et blanc de l'encre me convainc moins que l'acry tome XVII des Oeuvres complètes (édition de Jean lique) ; Massin) : le n" 269, un poulpe (lavis d'encre); le n° 3) Cobra = Copenhague. Le dragon qui prolifère 274, un dragon (plume, sépia, gouache) qui évoque chez Alechinsky est-il chinois ou Scandinave? Les deux le Cobra vivant d'Alechinsky. Quant aux contempo ensemble, bien sûr. Ses bestioles évoquent celles que rains : Karel Appel, compagnon du groupe Cobra, avec Segalen photographiait en Chine (Chine, La grande lequel la ressemblance s'est accentuée au fil des an statuaire), et aussi bien tout ce que refoule certaine nées — et Jean Dubuffet, qui ne se reconnaît d'ancê tradition gréco-latine et qui affleure néanmoins en tres qu'anonymes. Bretagne, en Irlande, ... Ou encore: le Mexique, le English Translation, p. 92 ^Cfc

60 should look like was really, and quite possibly for the first time, shaken. Brandtner grew up taking all this for granted. But in Canada the Reading through his journals, the loose manuscripts for lectures, situation was different. The struggle for independence in the arts had the accumulation of a lifetime devoted to studies related to international just begun. He was elected secretary to the newly formed Contemporary art, history and education, we discover how many of his ideas and Arts Society in January 1939, an artists' organization which took the insights are now part of what we take for granted and see reflected in position of an "anti-academy, putting emphasis on the living quality of contemporary art around us. art — on imagination, sensitivity, intuition..." with an associate mem His note-books reveal a tireless search for justification of his own bership created for non-artists "to give support to contemporary trends progress, the complexity of his private obsessions. The main volume in art and to further the artistic interest of its members . .." This was in the collection of his personal papers was written and illustrated during 33 years after the German manifesto had been declared. his later years, as a kind of conclusive summary of personal beliefs. The non-artists were Brandtner's special concern and many of When Brandtner boldly writes on the title page: "This book is an the quotes in the note-book refer to his frustration about their fate: "In attempt to bring together some ideas on art, the way I see it, some ideas the homes of the middle class we find better furniture and cheap on life itself" and adds, almost apologetically, the afterthought: "Nature reproductions but very few original paintings, and sculpture is entirely I loved, and after nature art" (probably a paraphrase of the 19th century absent. Only in the homes of the wealthy class do we find a great amount British poet Walter Landor: "Nature I loved, and next to Nature, Art") of art work assembled for the enjoyment of a limited group. As a result being "an old man mad about art" he clearly anticipated the possibility of this the control of our culture is not in the hand of the people and that scholastic disputes might arise in the distant future about when, therefore can not influence their lives. Art in its larger sense can not why and how he came to write down and sketch the thousands of do what it should and could do. This makes a pretty bad picture for spontaneous insights and observations on scraps of paper and loose democracy. Art is not wanted! I could in this connection say something sheets of cardboard. He took care to sign most of the drawings, but about the individuals collecting art work, etc. and the motives behind rarely added the date. it, the part private galleries play in promoting art but it would take too This interpretation of interpretations has meaning only in relation much time ..." ship to Brandtner's oeuvre as a whole, rather than an explanation of its "The average person seems content to be ignorant in modern art parts. and still feels he is qualified to pass judgement on something which he The illustrations to the text are vivid in coloured inks or pencil, knows nothing about." either directly executed on the page itself or pasted in. Here we find "Art must once again be put in touch with the man in the street small sketches, 2" x 4", concentrating on the juxtaposition of square, and placed in our city squares. Contact must be re-established with the cube and cylinder, the Bauhaus components he explored in 1930. They public, with the crowd." would influence larger designs twenty-four years later, and, constructed Why didn't Brandtner attempt to put some chronological order into out of cardboard and balsa wood, replace the customary two apples, this book, and so give us a key to make his often stunning insights rele book and bottle of his student's object-study class. vant? Why did he, the skilled graphic designer, familiar with the techni His walks at night through deserted streets, sketch-book in hand, cal requirements of colour printing, the artist who enjoyed sharing his are recorded in words and drawings: The depths of the shadows, the work with people, the teacher who developed his own theories of form, structures of houses and the patterns of neon signs, street-lights, the space and colour, why indeed did he create a book which can neither be effect of a dark blue summer sky over rooftops. They led to a number of reproduced nor properly exhibited? Could it be that he knew the oil paintings like City from the Night Train, 1947, in the collection of the answer? National Gallery. Could it be that he, the Expressionist, the man who gave himself so The text in this book, when not in reference to pictures, is some totally to expressing his own spiritual attitudes at the risk of being thing else altogether. No attempt was made to distinguish between rebuked, misunderstood or applauded, simply found deep joy in assem quotations from his own or other sources, no reference to the circum bling this book by re-living the experiences he shared with others as stances which prompted their selection. well as the drawing and paintings they inspired? This out-of-context wisdom nevertheless reveals the astonishing An Odyssey — not a travel guide, rather a personal and private range of his concern and his experimental testing of facts and ideas. book, like a diary which gives the writer alone a mirror to his own past. To anyone familiar with Marshall McLuhan's philosophy they make compelling reading. To art historians they offer an intellectual quiz of formidable proportions. From Einstein to Gropius, Leonardo to Duchamp, Kandinsky, Goethe — and Vincent Massey — the speculative list seems endless. Brandtner throughout his life had to divide his aesthetic aims into PIERRE ALECHINSKY: COBRA LIVES three major fields: Work on commissions which had to meet the client's approval (graphics, mural decor); teaching and lecturing (children's art, adult education); his own work (painting, drawing, wood and lino By Jean-Loup BOURGET carving, metal relief sculpture). He tried very consciously to prevent an overlapping of boundaries. In 1976 Pierre Alechinsky was awarded, for the body of his work to In his own words, in conversation with art historian Walter Abell, 1956: date, the Andrew W. Mellon prize, worth 50,000 dollars, which entitled "People think you can get out your canvas and paint any time you have him, among other things, to a retrospective at the Carnegie Institute of a free moment. You can't. Commercial art and painting are entirely Fine Arts in Pittsburgh. The exhibition then goes to Toronto, to the Art different. Painting takes a different mental approach. You have to get Gallery of Ontario1. In addition, recent works by Alechinsky were shown the right attitude, the right mood. If you've just been doing commercial at the Lefebre Gallery, New York. Two books about the artist have been design, that takes time." And in his note-book he wrote: "Being an artist simultaneously published: Pierre Alechinsky, Paintings and Writings by and being a teacher are two conflicting things. When I paint, my work the Carnegie Institute, and Alechinsky, by Abrams, both containing col manifests the unexpected ... In teaching it's just the opposite. I must lections of texts by Ionesco and by Alechinsky, reproductions, some of account for every line, shape and colour and I am forced to give an them original lithographs, and very detailed accounts of the painter's explanation of the inexplicable and account for the variety of styles the life. students present." In 1966 Alechinsky painted with ink on pasted paper Cobra Lives, There were other boundaries to respect, and Brandtner's tempera a title, sign, and manifesto which he could well use again today, and ment wasn't always easy to control. In Europe, and especially in which could also serve to define his work. Some art historians do in fact Germany, artists had a voice in political matters and took an active rôle consider that Cobra is dead, that it was a movement that started in 1948 in the shaping of their society. They used visual communication with and came to an end in 1951. Alechinsky is apparently not of this opinion. mental and moral courage, formed groups and associations to add Cobra derives from Copenhagen, BRussels, Amsterdam, the native strength to their cause and the press took them seriously. cities of Jorn, Pedersen, Dotremont, Appel (Alechinsky still collaborates Brandtner was ten years old when, in 1906, the revolutionary group with the latter two), Constant, Corneille,... it is a movement geographi of young artists, calling themselves "Die Bruecke" (The Bridge) cally assigned to expressionism, with surrealist affinities, which would proclaimed in their programme: "Believing in development and in a new also seem to be the counterpart of American lyric abstraction, if it were generation both of those who create and of those who enjoy, we call all not more lyrical than genuinely abstract. It is interesting that Cobra young people together, and as young people who carry the future in us (like surrealism, whose aims were both literary and artistic) used French we want to wrest freedom for our gestures and for our lives from the as a means of expression, with an imaginative force very different from older, comfortably established forces. We claim as our own everyone expressionist "angst". Different too was the gestual aspect of Cobra, the who reproduces directly and without falsification whatever it is that fact that, in Jorn's judicious words, the automatism of what was to be drives him to create." expressed should be physical as well as mental (hence fundamentally

92 different from surrealism, a contrast, for example, to Magritte's paint Singer of creation, of immemorial flora and fauna both mythological and ings, although some of Magritte's drawings bear a striking resemblance prehistoric. Orpheus charming the birds. Simultaneously vivid and to Alechinsky's paintings). delicate colours. Sublime purples and yellows (The black and white ink This movement, which fits in harmoniously with the tradition of I find less convincing than the acrylic); Western painting, marks at the same time a break with that tradition. 3) Cobra = Copenhagen. Is Alechinsky's proliferating dragon, Chinese For centuries, painters from Northern Europe have given proof of their or Scandinavian? Both, of course. His beasties remind one of those originality, but, as it were, in spite of themselves. They strive with all photographed by Segalen in China (Chine, La grande statuaire), as well good faith, it would appear, to submit to a tradition which they revere as all that a certain Greco-Latin tradition represses and which never (Greco-Latin, or Judeo-Christian), and which has at the same time been theless crops up in Brittany, in Ireland, ... Or again: Mexico, the Aztec imposed on them, even by force. Thus Durer follows the Italian school, calendar, salad green and comestible purple, of Astre et Désastre (1969) Antwerp espouses mannerism, Rubens finds inspiration in the Venetians, which figures on the covers of the beautiful books published by Pitts Rembrandt illustrates the Bible: the whole of Northern Europe seems to burgh and by Abrams. make a concerted effort to invent a purportedly greco-roman style — Moreover, Alechinsky converses with the tradition of Western neo-classicism (with, however, a recurring of repressed colour, as in modernism. In the steps of Matisse he paints a Luxe, calme et volupté the case of Blake or Runge), Van Gogh goes to Aries to paint. The turn (1969). At the end of his life, Matisse with his paper cut-outs arrives at of the (19th) century is a cross-roads. In Aix-en-Provence, Cézanne pure, solar colour, which — inevitably — has been decried as decorative ushers in modernism, well within the Western and Mediterranean tradi — as has Alechinsky's. Like the other members of Cobra, he is repre tion, which Picasso, in spite of appearances, will continue and reinforce. sentative of his age. He appreciates jazz. Appel paints Dizzy Gillespie. Gauguin, the "wild one", like Rimbaud in poetry, frees with one stroke As a teenager, Alechinsky listens to Django Reinhardt and. during his all the repressed elements of this rational, realistic tradition: primitive first visit to New York, to John Coltrane, Thelonious Monk, Duke Elling art, exoticism, japonism, popular art, the spirit of childhood,... ton. Appropriately enough, it was Michel Portal, who. with the same The break brought about by Gauguin means that it is henceforth personal expressivity, the same humour, composed the music of the possible to adhere to a tradition — and look elsewhere. (This, of course, film Alechinsky d'après nature (1970). He likes the cinema, and his is the well-known phenomenon of the 4th Republic, of the double alle framing and editing technique (from Central Park, 1965, up to Souci giance). Double, triple or multiple, this is how Alechinsky: quotidien, 1975 and beyond) perhaps owes something to the medium, 1) does not object to his "little Belgian fatherland". Witness his "Hom as well as to the comic strip. mage à Ensor" (1960), a painter whose humoristic, caricatural vein he He has said himself that when one realises that one is bound by a shares; his grand-mother owned an Ensor engraving. He paints the chain, one can throw the chain overboard, one is free. All Alechinsky's G/7/ss de Binche. He is a self-declared reader of comic strips, the great ancestors, instead of weighing down on him, lift him, like balloons, Belgian speciality, and recaptures his journey to Japan in terms of Tintin towards the sky. His father is a Russian Jew, his mother, Franco-Belgian. chez les calligraphes, an unedited episode of Lotus bleu. Indeed, this Speaking of metaphors, apart from Ensor (and, by implication, Gauguin), 50-year-old, small, mischievous, redhaired man reminds me of the one might also mention for the love of writing, of playing with words, eternal youth with the topknot and the golf trousers; and Victor Hugo, draughtsman and decorator (the Chinese-inspired 2) Like Ensor, he is, to an extent, a citizen of the Far East, of China and poker-work for Hauteville-Fairy, Juliette Drouet's house in Guernsey). of Japan, and has made a film about Japanese calligraphy. He deliber Two specific examples will suffice, taken from Vol. XVII of the Complete ately evokes the Fantôme d'Hokusai (1976). His technique — brushwork Works (edited by Jean Massin): No. 269, an octopus (ink-wash); No. 274, — calls China, or Japan, to mind. His recent paintings (exhibited by John a dragon (pen-and-ink, sepia, gouache), reminiscent of Alechinsky's Lefebre) are in acrylic, red, purple, brown, on large sheets of Chinese Cobra lives. As for his contemporaries: Karl Appel, his colleague in the rice paper, either crumpled or smooth, which Alechinsky obtains by Cobra group, with whom the resemblance has become more marked special order, in reams. It is generally true that he paints in signs (Japan, with the years, and Jean Dubuffet, who acknowledges only anonymous according to Roland Barthes, is the Empire ot Signs): a fusion of ancestors. signifier and signified, of drawing becoming colour, and, conversely, of painting becoming writing. Hence the impossibility of distinguishing 1. March 10 to April 20, 1978. between expression and figuration, between personal lyricism and the 2. Éditions Yves Rivière — Métiers Graphiques has recently published Alechinsky — painting (de-piction) of creation. Bestiary, monsters, worms, freaks, Peintures et Écrits, distributed In Canada by Flammarion. reptiles (cobras), birds (one and the same thing to the paleontologists). (Translation by Eithne Bourget)

CENTRE DES ARTS VISUELS, 350, avenue Victoria. ATELIER POWERHOUSE, 3728, rue Saint-Dominique. Jusqu'au 22 avril: Denise Beaudin, Textiles; Du 4 au 27 mai: Jusqu'au 14 avril: Contraste: Travailler ensemble à l'intégra Edward Roman, Verre soufflé; 1er juin au 1er juillet: Exposi tion de nos différences: Chantai Dupont, Astrid Lagounaris, tion des étudiants du Centre. Nancy Lambert, Lucie Laporte et Francine Thibeault; Claire CENTRE SAIDYE BRONFMAN, Salzberg, Argile; Du 16 avril au 5 mai: Isobel Dowler Gow, ylgendArt 5170, Chemin de la Côte Sainte-Catherine. 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Pépin, Peintures; Stan Szaflarski, Gravures; Du 12 au 30 avril: François Brosseau, Lisette Lemieux, Sculptures; GALERIE L'ART FRANÇAIS, 370, avenue Laurier Ouest. Ruslan Logush, Lucie Simons, Gravures; 3 au 21 mai: 4 au 18 avril: Stanley M. Cosgrove, Peintures et dessins; Richard Caplette, Thérèse Dionne, Vahé Monghalian, Peintu 22 avril au 6 mai: Art des Amériques, Une collection unique res; Anita Croteau-Skaburskis, Encres; 24 mai au 11 juin: d'art précolombien, indien et esquimau ancien; 9 au 20 mai: Lucienne Cornet, Gravures et murales; Jean-Pierre Legros, Daniel Lareau, Sculptures; Otto Bohm, Pastels et aquarelles; Claude Sabourin, Sculptures; Serge Valcourt, Sculptures et Juin: Artistes de la Galerie. dessins; 14 juin au 2 juillet: Odette Théberge-Côté, Peintu MONTRÉAL GALERIE B, 2175, rue Crescent. res et gravures; Louyse Brosseau, Michèle Drouin, Peintures; Réal Arsenault, Dessins et aluchromies. MUSÉE DES BEAUX-ARTS DE MONTRÉAL, Début Avril: Erik Fischl; Mi-Avril a Mai: Betty Goodwin, Des sins. ATELIER-GALERIE LAURENT TREMBLAY, 4809, rue Marquette. 3400, avenue du Musée. Jusqu'au 26 avril: Chantai Dubé, Suzanne Volataire, Dessins; Jusqu'au 23 avril: Monique Charbonneau; Jusqu'au 30 avril: GALERIE BERNARD DESROCHES, 1194, rue Sherbrooke Ouest. Du 13 au 26 avril: J.-M. Cropsal. Vêtements; 27 avril au Hundertwasser; Du 23 mars au 11 juin: Surréalistes et sur- Avril: Helmut Gransow; Mai: André L'Archevêque; Juin: Henri 15 mai: Raynald Connolly, Peintures; 16 au 30 mai: Grégoire réalisants; 11 mai au 18 juin: Charles Gagnon. D'Anty. MUSÉE D'ART CONTEMPORAIN, Cité du Havre. Ferland, Sculptures. Jusqu'au 2 avril: Dennis Oppenheim, Installations et projets; GALERIE CURZI, 2140, rue Crescent. Oeuvres de la collection permanente; Françoise Sullivan: Du 1er au 29 avril: Louise Robert, Peintures; G au 27 mai: QUÉBEC Danse dans la neige; Du 6 avril au 7 mai: Suzanne Guité; Richard Mill, Dessins. Tétreault/Lauzon, Gravures et sculptures; La Collection GALERIE LIBRE, 2100, rue Crescent. MUSÉE DU QUÉBEC, Parc des Champs de Bataille. Robert EUe; Yvon Cozic: Surfacentre; Nouvelles tapisseries Jusqu'au 11 avril: Joyce Rose, Emaux sur cuivre; Du 12 avril Jusqu'au 7 mai: Louis-Pierre Bougie, Peintures, dessins et québécoises; 11 mai au 11 juin: Yves Trudeau; Richard au 2 mai: Richard taurin. Peintures et dessins; 3 au 23 mai: gravures; Jusqu'au 27 août: Art ancien du Québec; Du 6 au Mill; Mia et Klaus: La Chine, architectures d'hier et peinture Teri Singer, Peintures et dessins; 24 mai au 13 juin: Jean- 30 avril: Carol Fraser, Peintures et dessins; 4 au 23 mai: d'aujourd'hui; 15 juin au 16 juillet: Adolph Gottlieb, Picto Jacques Tremblay, Peintures. Travaux des étudiants en dessin; 11 mai au 26 juin: Oeuvres grammes. choisies pour un album; 18 mai au 20 août: Art contemporain ATELIER J. LUKACS, 1430, rue Sherbrooke Ouest. du Québec; 1er au 25 juin: Collection Esmark, Estampes UNIVERSITÉ CONCORDIA — Du 25 avril au 13 mai: Stanley Lewis. américaines du 19e siècle. GALERIE D'ART SIR GEORGE WILLIAMS, OPTICA, 451, rue Saint-François Xavier. ATELIER ANDRÉ BÉCOT, 499, rue Saint-Jean. 1455, boul. de Maisonneuve Ouest. Jusqu'au 7 avril: San Francisco Associates: Harry Bowers, Du 5 au 23 avril: Denise Giguère, Peintures; 26 avril au Jusqu'au 11 avril: Sue Real, Dessins; Eva Brandi, Sculptures; Ellen Brooks, Phillip Galgiani, George Legrady, Casey Wil 14 mai: Jean Bernèche, Dessins; 17 mai au 4 juin: Rock Graham Cantieni, Dessins; Du 13 avril au 2 mai: Exposition liams, Photographies; Ou 10 avril au 12 mai: Sur les murs; Belzile, Peintures; 7 au 25 juin: Michel Saint-Amour, Pein du printemps des étudiants de maîtrise en beaux-arts. 15 mai au 16 juin: Polaroids. tures.