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UNIVERSITY OF REGINA ARCHIVES AND SPECIAL COLLECTIONS DR JOHN ARCHER LIBRARY 87-94 CLAUDE BREEZE SHELLEY SWEENEY JANUARY 30, 1988 REVISED APRIL 2009 BY ELIZABETH SEITZ 87-94 CLAUDE BREEZE 2 / 20 Biographical Sketch Claude Breeze has always been different. Born in Nelson, BC in 1938, he spent his childhood in Saskatoon, living with his grandparents. In high school he was taught by Ernest Lindner and there had two of his works singled out for distinction. In 1958 he received a Certificate in Arts from the University of Saskatchewan, Regina College, where he studied under Ron Bloore, Roy Kiyooka, Ken Lochhead and Art McKay. Both he and Brian Fisher, who had also studied at Regina College, then headed out to Vancouver. Breeze did a year at the Vancouver School of Art, then joined the Medical illustration department at the Vancouver General Hospital. It was the sixties. Vancouver was a mecca for artists, poets, writers, musicians. Breeze and Ardis Watson collected a lively group around them, including Fisher, poet John Newlove, photographer Fred Herzog, musician Barry Hall. It was during these times that Breeze produced such series as the television series, “Lovers in a Landscape”, “Genetic Problems”. He made statements about violence and racism, producing “Sunday Afternoon (from an Old American Photograph)” (1965). His works were bright, bold, violent and erotic, and Breeze earned the reputation for being outspoken, uncompromising, a bit of a maverick. Since that time he was Artist-in-Residence at the University of• Western Ontario and then taught at York Un where he remains today. Probably because of the nature of Claude Breeze’s works, they have been bought by galleries and serious collectors, but relatively neglected by the average public. One couple in particular have collected dozens of his works: Dr. Ken and Joyce Morton of Vancouver. Their constant support and encouragement have no doubt both stimulated Breeze and allowed him the freedom to produce significant art. His papers and in particular the wealth of sketches and drawings included in the collection trace the development of his art, from his first works produced in the early 1950s to 1969, and beyond. A rich collection of correspondence and photographs reveals a generation of artists, poets, writers that were strongly influenced by the 196Os. Claude Breeze represents the second generation of painters associated with Regina College. 87-94 CLAUDE BREEZE 3 / 20 Table of Contents Art Works, Drawings and Sketches, Sketchbooks Calendars, Diaries Correspondence Financial Records – Personal General Files Newspaper Clippings Photographs Publications Scrapbook 87-94 CLAUDE BREEZE 4 / 20 Box 1 Art Works, Drawings and Sketches, Sketchbooks Loose Drawings and Sketches, n.d. Black Sketchbook #1 – August 1962 Black Sketchbook #2 – n.d. (oversize in Oversize Box 1) Black Sketchbook #3 – n.d. (oversize in Oversize Box 1) Black Sketchbook #4 – 1966 Black Sketchbook #5 – May 25, 1961 Green Sketchbook #1, “Genetic Problems” Sketchbook Pages wIth no Cover – c. 1965 Notes for Black and Green Sketchbooks by Artist – 1987 Oversize Early Work - Saskatoon 1. “Odd”, Saskatoon Technical Junior Art Exhibition, 1954 2. Abstract figure, coloured 3. Smoking figure, coloured Regina – School of Art 1958-59 4. Abstract, red, black, gray. on paper 5. Abstract, red, black, gray. on paper 6. Abstract, red, black, gray. on paper 6 1/2. Abstract, red, black, enamel on paper 7. Abstract, red, black, Stovepipe enamel on paper 8. Abstract, red, black, enamel on paper 9. 45 second female nudes – line drawing 10. ? second female nudes – line drawing 11. ? second female nudes – line drawing 12. Still life, brown conte 13. Female figure drawing, brown conte –1958 14. Female nude (portions), Stovepipe enamel on paper 15. Female nude (portions), Stovepipe enamel on paper 16. Female nude (portions), Stovepipe enamel on paper 17. Female nude (portions), Stovepipe enamel on paper 18. Female nude (portions), Stovepipe enamel on paper 19. Female nude, line drawing on grey paper – 1958 20. Female nude, line drawing on grey paper – 1958 21. Prairie horizon – felt pen, 81/2 x 11” 22. Regina street (looking east on 11th Ave), pen and ink – 1958, 8 1/2 x 11” 23. “Man Reading on Park Bench”, pen and Ink – 1958, 8 1/2 x 11” 24. “Roy Reading”, pen and ink – 1958, 8 1/2 x 11” 25. Self–portrait, pen and ink, 81/2 x 11” Vancouver School of Art - 1959-60 Figure Drawing 26. Female nude – line drawing – pencIl, 8 1/2 x 11” 27. Female nude – line drawing – pencil, 8 1/2 x 11” 28. Female nude – line drawing – pen and ink, 8 1/2 x 11” 29. Male seated figure – pen and Ink on brown paper 30. Female nude line drawing – pen and Ink on brown paper 30 1/2. Male line drawing – pen and ink 31. Male line drawings – pen and ink 32. Male line drawings – pen and ink – 1959 33. Male I me drawings – pen and ink – 1959 34. 2 line drawings of a dog – pen and Ink 35. Geometric male – pen and ink, black conte and brown wash 87-94 CLAUDE BREEZE 5 / 20 36. Female nude – pen and ink and wash – 1959 37. Female – Pen a Ink, 18 x 24” 38. Female nudes – pen and Ink, 18x 24” 39. Man with turban – pen and ink, 18 x 24” 40. Man with turban – pen and ink, 18 x 24” numbers 41 to 49 not used 50. Female nude – pencil, 18 x 24” 51. Female nude – pencil, 18 x 24” 52. Male leaning on chair – pen and ink, 18 x 24” 53. Male figure – pen and ink, 18 x 24” 54. 4 female nudes – pen and ink and charcoal ?, 18 x 24” 55. Female draped In sari – pen and ink, 18 x 24” 56. Nude male, seated – pen and ink, 18 x 24” 57. Nude male, seated – pen and Ink, 18 x 24” 58. Nude male, seated – pen and Ink, 18 x 24” 59. Nude male, seated – pen and ink, 18 x24” 60. 3 nude females – pen and ink, 18 x 24” numbers 61 to 69 not used 70. Nude females – pen and ink, 18 x 24” 71. Nude females, abstract – pen and ink, 18 x 24” 72. Male with clenched fists – pen and ink, 18 x 24” 73. Male with clenched fists – pen and ink, line drawing, 18 x 24” 74. Male face, line drawing – pen and Ink, 18 x 24” 75. Female face, line drawing – pen and ink, 18 x 24” 76. Seated female nude – pen and ink, 18x 24” 77. Turbaned male – portrait – pen and ink, line drawing, coloured, 18 x 24” 78. Portrait – male, ink and paint (slightly smaller) 79. Portrait – male, ink and paint, l0x 24” 80. Portrait – female, Carol Wo 81. Portrait – black woman – line drawing –pen and ink – 1959, 18 x 24” 82. Seated black female nude – pen and ink – 1959, 18 x 24” 83. Seated black female nude – pen and ink – 1959, 18 x 24” 84. Portrait, black female – pen and ink (smaller) 85. Portrait, black female – pen and ink (smaller) 86. Portrait, black female – pen and ink (smaller) 87. East Indian female in sari – ink, 18x 24” 88. East Indian female – portrait – ink and colour, 18 x 24” 89. East Indian female – portrait, ink and colour, 18 x 24” 90. Black male – portrait – ink, 18 x 24” 91. Black male – portrait – ink and paint, 18 x 24” 92. Black male – portrait – ink and paint, 18 x 24” 93. Black male – portrait – Ink and paint, 18 x 24” 94. Black male – portrait – ink and paint, 18 x 24” 95. Black male (San Francisco poet) – ink, 18 x 24” 96. Black male (San Francisco poet) – ink, 18 x 24” 97. Clown – pen and ink, 18 x 24” 98. Clown – pen and ink, 18 x 24” Landscape (School of Art, Vancouver) 99. Landscape (pen and ink?) – 1959 87-94 CLAUDE BREEZE 6 / 20 Still Life/Bridge (School of Art, Vancouver) 100. Abstract, pen and ink, ink wash, white conte? 12 x 18” 101. Abstract, pen and ink, ink wash – 12 x 18” 102. Abstract, pen and ink, ink wash – 18 x 23” 103. Abstract, pen and ink, ink wash, conte – 18 x 23” 104. Abstract, pen and ink – 18 x 23” 104 1/2. Abstract, pen and ink – 18 x 23” 105. Abstract, pen and ink, conte, pencil line, paint wash – 18 x 23” 106. Abstract, pen and ink, paint wash – 12 x 18” 107. Abstract, pen and ink, ink, oil pastel – 12 x 18” 108. Abstract, pen and ink 109. Abstract, pen and ink 110. Abstract, pen and ink 111. 2 bottles – pen and ink, ink, paint wash 112. Abstract – ink and paint wash 113. Collage - abstract 114. Abstract – ink, paint, pastel 115. Abstract – ink, paint Vancouver Art School – graphics - Abstracts 116. Etching, blue – 5 3/4 x 9” (+) 117. Etching, blue and yellow – 5 3/4 x 9” (+) 118. Etching, blue, red – 5 3/4 x 9” (+) 119. Etching, red, blue?, yellow – 5 3/4 x 9” (+) 120. Etching, blue, yellow, red – 5 3/4 x 9” (+) 121. Etching, multi–coloured – 5 3/4 x 9” (+) 122. Etching, multi–coloured – 8 1/2 x 11” 123. Etching – black on white paper – 8 1/2 x 11” 124. Etching – multi–coloured – 8 1/2 x 11” 125. Etching – black on white paper – 8 1/2 x 11” 126. Etching – yellow, red - 8 1/2 x 11” 127. Etching – yellow, red – 8 1/2 x 11” 128. Etching – yellow, red – 11 x 13 1/2” 129. Etching – black on white paper – 11 x 13 1/2” 130. Etching – multi-coloured – 12 x 14” (+) 131. Etching – black on white paper – 13 x 15” 132.
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  • RONALD BLOORE • BRIAN FISHER • YVES GAUCHER • ROY KIYOOKA • ARTHUR Mckay - in the CONTEXT of the ARTISTIC and CRITICAL SENSIBILITY of the 1960'S

    RONALD BLOORE • BRIAN FISHER • YVES GAUCHER • ROY KIYOOKA • ARTHUR Mckay - in the CONTEXT of the ARTISTIC and CRITICAL SENSIBILITY of the 1960'S

    A DISCUSSION OF FIVE CANADIAN PAINTERS - RONALD BLOORE • BRIAN FISHER • YVES GAUCHER • ROY KIYOOKA • ARTHUR McKAY - IN THE CONTEXT OF THE ARTISTIC AND CRITICAL SENSIBILITY OF THE 1960'S by WILLIAM JAMES GORDON KIRBY B.A., University of British Columbia, 1965 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of FINE ARTS We accept this thesis as conforming to the requ i red s tanda rd THE UNIVERSITY OF BRITISH COLUMBIA July, 1973 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Fine Arts The University of British Columbia Vancouver 8, Canada Date July, 1973 ABSTRACT Creative expression does not exist alone for the artist in moments of inspiration but, rather, exists also for those who participate in what the artist has created. Genuine artistic expression, in other words, joins together both the artist and the viewer in an unique form of communication. The significance of such a close relationship became very evident in the 1960's when the so-called minimal and reductive trends in art began to emerge as a reaction against the excesses of New York Abstract Expressionism.