Wednesday, April 1, 2020

Finding beauty...

...while out for a walk yesterday morning. The snow and ice are melting here, the sap is running, and birdsong fills the air.

Wednesday, March 25, 2020

Sometimes you just need to make something with your hands

In a recent article in the Lancet, a researcher suggested it would be "rational" for healthy people in self-isolation to wear a face mask if they need to leave home for any reason.

An appeal to make surgical masks arrived in my in-box this week. I had no intention of ramping up a production line at home, especially because I doubt that I can make a hospital-grade mask. I wouldn't want my mask to give someone a false sense of security. But in a pinch, it would be better than nothing.

The basic idea is that you make an outer envelope from woven cotton. The cotton is lined with a couple of layers of non-woven material, whether interfacing or batting. This kind of fabric is less permeable than woven cotton. 

So you want something that will block the passage of a microscopic virus, but still allow the user to breathe. You're also looking for a washable product, so that it may be re-used. Apparently the material used to make vacuum cleaner bags is very effective.

Mostly I relied on the first of the video links, below, for my instructions. I also made a few modifications:
- I zigzag-stitched some flexible wire to the upper edge of the finished mask. You can use floral wire, or the "twist-tie on a roll” available at the hardware store. This allows the wearer to mold the upper edge over the bridge of the nose. 
- I shortened the elastic to 6” for women.
- I made a mask for a 2-year-old that was cut about 6” x 6”, rather than 9" x 6”. Instead of elastic, I used some cloth tape (4 lengths of 12”) so it could be tied into place. The child wasn’t at hand for measurements but the mask fits quite well.

I chose cotton fabric suitable for each of the recipients, and cranked out a dozen or so. Yes, it was all rather morbid. Still, the activity was diverting, and let me feel I was doing something useful.

Tuesday, March 17, 2020

Art Film Festival on-line

In its 38th year, the Festival Internationale du Film sur l'Art has decided to offer its extensive programme on-line, from March 17 - 29, 2020. This is due to current global realities.

Originally, 244 films from 39 countries were scheduled for screening. FIFA is working hard to secure permission from all the filmmakers to have their films included in this now-virtual event. The plan is for the films to be available via Vimeo on demand, at a low cost of $30 for the entire duration of the festival. I believe this offer is limited to Canadian viewers only, due to licensing issues.

For more information on plans as they develop, please visit their website. The FIFA site has always been a little clunky, but I find it's worth the effort.

A complete list of films can be found here.

Sunday, March 15, 2020

Kathleen Mooney workshop

So excited to have secured a place in a water-media workshop with Kathleen Mooney. It is planned for August 17 - 20, 2020, and will be held in Hudson, Quebec.

There are still places available in the class so, if you're interested, please visit Kathleen's website here.

Wednesday, March 11, 2020

Colour with a U: conference and exhibition

This promo card features a detail shot of a
gorgeous work by my friend Helena Scheffer

I had been looking forward to the annual conference of SAQA (Studio Art Quilt Associates), to be held in Toronto mid-March. It was to be the first time that the conference for this international organization was booked for a city outside the U.S.

Sadly, with concerns about COVID-19, the conference has been cancelled. Organizers are working hard to ensure that the presentations will be available in a virtual format.

And the exhibition organized to complement the conference will be staged as scheduled. And I am excited to have had a piece accepted. 

I chose this particular piece as one of my three entries, because I felt that the colour palette was indeed unique, and that the Quebec City architecture was distinctive and truly Canadian. 

The show continues until the end of May, and I hope to schedule a few days in the Toronto area to visit with friends and take in the exhibition.

Update: The Homer Watson Gallery is closed indefinitely due to concerns of viral transmission. Please check the gallery website for further information.

Rue de Buade #2

Sunday, March 8, 2020

Estate Sale at the Alan Klinkhoff Galleries

John Little, Rue Beaudry, de la Gauchetière, Montreal, 1963
oil on canvas, 24 x 30

Both the Toronto and Montreal branches of the Alan Klinkhoff Gallery will be involved in an exhibition and sale of the Mitzi and Mel Dobrin collection of Canadian art.

Robert Pilot, The Lane, Peel Street, Montreal, 1950
oil on canvas, 28 x 22 in

More than 90 first-rate paintings will be featured, from artists like Molly Lamb Bobak, Emily Carr, Marc-Aurèle Fortin, Clarence Gagnon, Lawren S. Harris, and A.Y. Jackson. The paintings may be viewed on-line at the gallery website. Also on the site are the reminiscences of the Dobrins' son, Lewis, and of gallerist Alan Klinkhoff, who tell the story of the Dobrins' approach to building their collection.

Tom Thomson, Early Spring, Algonquin Park, 1917
oil on board, 8 1/4 x 10 1/2 in

To see this museum-quality collection of art, visit the Alan Klinkhoff Gallery in Toronto, March 12 - 21, 2020, or in Montreal, March 26 - April 4, 2020.

Toronto branch: 190 Davenport Rd, Tuesday - Saturday, 10 am - 5 pm

Montreal branch: 1448 Sherbrooke St. W., Tuesday - Saturday, 9 am - 5 pm

Wednesday, March 4, 2020

from The Westmount Independent newspaper...

... a review of my recent three-person show at Victoria Hall.  Click on the image below to enlarge.

I would be happy to exhibit there again: the space is beautifully lit, open every day for extended hours, and all those involved were very professional. Thank you to journalist Heather Black for her favourable and insightful commentary.

Sunday, March 1, 2020

"Recollections of a Picture Dealer", by Ambroise Vollard

I don't remember exactly where I read a review of this book, a memoir of the well-known Parisian art dealer Ambroise Vollard (1866-1939). But I hesitate to recommend it to anyone but the most avid fan of art history. Perhaps a good biography of Vollard is yet to be written.

Vollard's collection of anecdotes is populated with the colourful characters of the Parisian art scene, including Picasso, Renoir, Cezanne, Manet, Gauguin, Van Gogh and Degas. Also included in his tales are well-known art collectors, like Gertrude Stein and her brother Leo Stein, Henry Osborne Havemeyer and Albert C. Barnes.

A caution: Vollard was very much a man of his time, and his stories are told through the lens of racist and misogynist views. No doubt a shrewd dealer, who generously supported struggling artists, he was not a particularly skilled writer. Nor is the translation especially accomplished. Vollard provides a glimpse into an intriguing world of salons and cafés, of dalliances and betrayals, slights and schemes, but stops short of sharing more thoughtful reflections.

Portrait of Ambroise Vollard, Paul Cezanne, 1899

I think the nature of Vollard's personality was that he was a true collector, not only of art but of people. He was also a "connector", bringing together disparate people with common interests.

Portrait of Ambroise Vollard, Picasso, 1910

In short, Recollections of a Picture Dealer was a disappointment. For an intriguing summary of Vollard's fascinating life and remarkable legacy, have a look at his Wikipedia profile.

Wednesday, February 26, 2020

Jean-Claude Poitras @ Montreal's McCord Museum

Recently I had an opportunity to attend a tour with the fashion designer Jean-Claude Poitras, as he led a small group through his current exhibition at the McCord Museum.

Poitras was charming, and he told many stories about his youth and his career, which illuminated the designs on display. Poitras was raised by his great-grandmother in a small Quebec town, and going to mass weekly was a treat for him. He loved to look at the parade of ladies in their finery. Some of his early collections even reference ecclesiastical garments.

Poitras admitted to finding inspiration in the fan magazines he loved as a child. The woolen suit on the left, designed in 1977, was inspired by Diane Keaton's androgynous wardrobe in the film Annie HallTo my eye, the trench coat on the right is a feminine version of one worn by Humphrey Bogart in Casablanca. 

I can imagine these frocks, shown above, on Italian film stars of the 50's and 60's.

Poitras attracted a celebrity clientele early on. He was enthusiastically endorsed by local "women of influence", like Mila Mulroney, Lisette Lapointe, and Pauline Marois.

One of the companies for which Poitras designed, Franck Imports, had extensive connections in Hong Kong. Twice a year, Poitras would spend two or three weeks in Hong Kong, learning to work with luxurious silk fabrics.

The tunic shown above is cut from mud silk, a fabric made in Guangdong province in south China, since the time of the Ming dynasty. In a laborious artisanal process, silk fabric is first dyed brown with ju-liang root. One side is then coated in iron-rich mud from the Pearl River delta and the silk is left to dry flat in the sun. The mud dyes one side of the fabric black, while also giving it a slight stiffness and lustre.  This method is not adaptable to industrial production.

You can see some Japanese influence in the garments above.

Find out more about the exhibition here. The show continues until April 26, 2020.

Sunday, February 23, 2020

"Griffintown" @ Montreal's McCord Museum

This weekend I had the pleasure of touring a newly-opened exhibition at the McCord Museum.

In this show, Montreal photographer Robert Walker shares twenty large-scale photos of Griffintown, a working-class Montreal neighbourhood, now undergoing radical gentrification. Another hundred or so of his photos are shown as projected images. Also on display are historic photos of the neighbourhood from the museum's archive.

Walker often juxtaposes the slick and glamorous "lifestyle" images used to promote the condos with the reality of their construction, and the consequent deconstruction of the neighbourhood. The viewer cannot help but ask:

  • what is lost?
  • what is gained?
  • what is promised?

You can find out more about the McCord's Griffintown photo exhibition here.

For those of you who appreciate the art of urban photography, have a look at this youtube video of Robert Walker on the job, in which he shares his approach and aesthetic considerations.

The show is the inauguration of an ongoing series at the McCord, Evolving Montreal.
"To document Montreal’s ongoing urban transformation, in the next few years the Museum will be commissioning well-known local photographers to explore the changes occurring in a neighbourhood of their choice."
The exhibition Griffintown continues until August 9, 2020.

Wednesday, February 19, 2020

Landscape Painting Now: from Pop Abstraction to New Romanticism

Published in 2019, this book offers a survey of 21st century landscape painting, a genre often  overlooked in current art criticism. It was edited by Todd Bradway, with an introductory essay by Barry Schwabsky.

Jonas Wood, M.V. Landscape, 2008
oil on canvas, 120 x156 inches

The work of more than 80 artists is presented, divided into six loose categories: Realism and Beyond, Post-Pop Landscapes, New Romanticism, Constructed Realities, Abstracted Topographies, and Complicated Vistas. Each category is defined and explored in a short introductory essay.

The three paintings I have chosen to post here are among my favourites. They are more figurative than much of the work in the book.

Isca Greenfield-Sanders, Bathers, 2016
mixed media oil on canvas, 35 x 35 inches

A couple of paragraphs introduces the work of each artist, both in general terms and with commentary about the specific paintings chosen to illustrate the artist's approach. Each artist has three or more paintings featured, often in full-page format. The quality of the reproduction is excellent.

Tim Eitel, Reflector, 2015
oil on canvas, 86 5/8 x 126 inches

The book ends with biographical information about all the artists. While most are American, there is a fair representation of international painters.

As I read through Landscape Painting Now, I was reminded how landscape painting can deal with contemporary issues, like social isolation, migration, and environmental devastation. 

I found the book in my local library; it's also available from Amazon.

Sunday, February 16, 2020

The Forgotten Female Art Dealer Who Championed Picasso and Modigliani

An article on Artsy, written by Karen Chernick, has introduced me to an intriguing personality. Her name was Berthe Weill, and I had never heard of her.

In 1901, at the age of 36, the Parisienne Berthe Weill opened an art gallery where she sold the work of emerging artists at modest prices. Writes Chernick,
"Weill bought, exhibited and sold Pablo Picasso's work before he ever moved to Paris or painted any of the works for which he's now considered a modernist legend.... She sold his Moulin de la Galette (c. 1900) for 250 francs to collector and newspaper publisher Arthur Huc.
"Huc made another purchase from Weill that year, a still life by Henri Matisse, for the bargain rate of 130 francs, the first ever sale by a dealer for the young Fauve artist."

Moulin de la Galette, Pablo Picasso, now in the Guggenheim Museum

Among the artists she championed during her 40-year career were André Derain, Georges Braque, Aristide Maillol, Kees van Dongen, Maurice de Vlaminck, Suzanne Valadon, Maurice Utrilllo, Georges Roualt, Raoul Dufy, Robert Delauney and Amadeo Modigliani. Midway through her career she began to dedicate half of her exhibitions to women artists. As the artists became more recognized, they moved on to better-known galleries, and Weill never achieved much financial success.

Portrait de Berthe Weill, Georges Kars, 1933

Sadly, Weill had to close her gallery in 1941. As tough as she was, life had become too difficult for a Jewish businesswoman in German-occupied France. Ten years later, she died in poverty.

There is a local connection to this story: in 2022, the Montreal Museum of Fine Art will stage a show of some 80 paintings that passed through her gallery.