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Galerie Q Blog

Galerie Q Blog is dedicated to sharing and inspiring those interested in Art with the latest in news and opinions in regard to Canadian art scene. Galerie Q Blog is a venue for connecting and informing all parties involved in Arts including, artists, art collectors, art dealers, art auction houses and private and public galleries of Galerie Q's event and exhibition updates.

Nathalie Voisine: Artist to Collect

Nathalie Voisine: Artist to Collect

                                                                                              Nathalie Voisine. Brume ou mirage. Acrylic on Canvas. 22x28". 

 

This month we pick contemporary Quebec painter Nathalie Voisine as an Artist to Collect. 

“I let the forms appear. From the pitted textures of the canvases and transparency of paints, a character is born. My imaginations and emotions guide my colourful creations.” - Nathalie Voisine

Nathalie Voisine paints in a distinct style: saturated colours, gestural brush strokes, figurative portraits that border abstraction. 

Born in Québec, Voisine studied at Sainte-Hélène de Kamouraska. Upon graduating, she moved from urban Québec City to rural Baie-Saint-Laurent where she continues to feel connected with nature; the trees, the grass, the rivers, the sky. Fueling her passion, nature continues to inspire her work.

Nature is not the only source of Voisine’s inspiration. Her unique style originates first from imagination. She begins many of her work with a single gesture, from her imagination. She determines her subject as soon as her imagination meets colour.

“My creative process, beginning with simple random movements across the canvas, without the subject being determined in advance under the impulse takes life with a stroke of a color or movement.”

Voisine received an honour of recognition at Rêves d’Automne in Baie-Saint-Paul in 2012. Voisine had her first major solo in 2014 at the Musée regional de Kamouraska. Entitled, A History To Watch, the exhibition showcased 17 of Voisine’s paintings: landscapes and subjects from Kamouraska history.

“I leave forms apparaîtrent, vibration background, textures punctuated transparency, are often up to the birth of a character, to create an emotion in my colourful imagination.”

Visit our Q collections Tab on the website and view our online collection for an in depth look at this contemporary Quebec artist.  

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Magical Realism: Guy Paquet

Magical Realism: Guy Paquet

                                                                                                         Guy Paquet. Untitled. 38x40". Oil on Canvas. 

 

“When I am far from my colors, far from the smells of the studio, then I want to be there to find this world of pleasure where my fantasies, my memories, this mixture of past and present are. I scaffold these images embroidered with sensations, atmosphere and thoughts.” – Guy Paquet

There is a mysterious and intriguing quality to Guy Paquet’s landscapes.

It is almost as though you were a child looking up at the stars and witnessing them for the first time. Paquet recreates this sensation of wonder through paint. Born in Quebec City in 1949, Paquet was always fascinated by the way people would inhabit spaces. As a self taught artist, he sought to capture the beauty that surrounded him on canvas. His paintings evolved into stunning landscapes which encompassed the mysticism of space and his deep love for the outdoors.

Influenced largely by Quebec artist Jean-Paul Lemieux, Paquet adapted his own style and treatment of landscape called magical realism. Finding comfort in Lemieux’s seemingly infinite Landscapes, Paquet wanted to evoke that same sense of mystery. His career as a painter developed naturally, beginning with small local shows and hometown galleries. As his artwork became more recognized, Paquet started exhibiting in galleries all across Montreal and internationally to Paris. For over 30 years, Paquet’s style remained constant. Today, he is considered among one of the top contemporary masters of the 20th century.

As he continues to paint, we continue to be captivated by the way he follows the light and its movements. Art had always been a way for Paquet to express the vastness of space and the passage of time. 

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Treasures from the Q Collection: Fernand Toupin and Les Plasticiens

 

                                                                     

  Fernand Toupin. Crème. Mixed Media on Canvas. 7.8x10.6".  

Recently brought in from our permanent collections storage, Crème by RCA artist Fernand Toupin (1930-2009) represents an important chapter in the conceptual evolution of Canadian painting. Distinct with a flat expanse of white paint set in contrast to a thick textural application, this work embodies the character of a generation of painters who aspired to rid their medium of any vestiges of visual reality.

Born in Montréal, Toupin is best known for his involvement with the Canadian non-figurative painting movement known as the Plasticiens. With fellow members Rodolphe de Repentigny (1926-59), Louis Belzile (b.1929), and Jean-Paul Jérôme (1928-2004), the Plasticiens above all valued the plastic facts of painting: tone, texture, form, line, and overall unity. They renounced the romantic conception of painting as a form of self-expression and instead, sought to accentuate the objectivity of the canvas. For them, a painting was to be perceived as an autonomous object rather than a believable window onto the world.

The Plasticiens' work presented a reaction and alternative to the work of the earlier Automatiste movement. While both groups wanted to highlight the objectivity of their paintings, the Plasticiens opted towards more rigorous traditions of geometric abstraction, as opposed to the chance-based method of the Automatistes. Instead of allowing the unconscious mind to dictate the art-making process, the Plasticiens exerted an orderly control over the formal elements of painting. Their work was built by balancing one structural part against another in pursuit of compositional balance and equilibrium.

The paintings and writings of the Plasticiens helped to shape Montréal’s future as a centre in which geometric abstraction would find its fullest expression and theoretical justification. With their contribution, the groundwork was laid for more formalist abstraction to take hold by the 1960s.

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René Richard: A Testimonial of Solitude

René Richard: A Testimonial of Solitude

( R.C.A.) René Richard (1895 – 1982)

René Richard’s artistic style interlaces close natural observation, and personal experience
as a way to poeticize his sensibility towards the land.

During his long trips up North in pursuit of solitude, Richard was never one to fully reject civilization nor effusively embrace wilderness. It was the state of in-between that Richard felt most comfortable, a state which allowed him the space for contemplation and the freedom to create. Richard would paint lively, colorful landscapes that danced between figurative and abstract, calling upon sensation rather than imitation.

Richard was a Swiss-born Canadian painter who settled in Canada with his family in 1909. Determined to learn the art and technique of painting, he took his first formal art lesson in Edmonton, Alberta. No soon after did he leave in 1927 to study full time in Paris, France.

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Painting the Landscape from 16th Century to Modern day

Painting the Landscape from 16th Century to Modern day

Artistic representations of the vast Canadian landscape have held a special fondness in the hearts of Canadians since early European contact. The tradition has been so enduring that even after several hundred years, landscape painting is still as intrinsic to the identify of Canada as it has ever been. While modes of representation have changed drastically, the landscape genre has continued to hold a dominant place in the Canadian art market coast to coast. So what are the roots of this tradition and why has it been so pervasive throughout Canada’s past?

The first European representations of the land in Canada were completed by topographers of the British army. Under an imperial Britain with ambitions of territorial conquest, artists produced glorified images of explorations and the process of settlement against the background of an ever-present wilderness. Through the documentation and presentation of the Canadian landscape, Europeans were laying claim to the land and legitimizing their exploration and possession of North American territories. In the eyes of an imperial audience back home, the land was an unexploited resource, ripe for conquest and colonization.

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Canada’s Nation Builder's Series

Canada’s Nation Builder's Series

Artist Susan Statham chosen for Canada’s Nation Builders Series sponsored by Galerie Q

Galerie Q celebrates Canada with ʻNation Buildersʼ- a series of unique and inspiring paintings by award winning artist and author Susan Statham. The first instalment begins with a tribute to Canada’s seventh Prime Minister Sir Wilfrid Laurier (1841-1919) whose historical significance and contribution to Canada during his time as prime minister is included as an integral part of the continuation of this project series.

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Making Art Buying Accessible: Galerie Q Paintings Under $1000 Show

Making Art Buying Accessible: Galerie Q Paintings Under $1000 Show

When Robert and Signe McMichael purchased “Montreal River” by Lawren Harris in 1955, they paid just $250 for it. This was their first acquisition and since they could not afford that large sum, they paid for it in installments of $50 per month. While the couple was not exceedingly wealthy, they were true lovers of art and found a way to turn their dreams of owning a premier art collection into reality.

So why is original artwork so important?

Art critic Walter Benjamin once wrote “even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.” Benjamin was concerned with authenticity, he believed that original works had a certain aura, something intrinsically linked to the artist and the materiality of paint and brush. Which is to say, that there is something invaluable about owning an original artwork, it is the ability to experience a painting in real time, as the artist had intended.

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A Brief History of Native Canadian Art

A Brief History of Native Canadian Art

A critical way to enrich anyoneʼs understanding of Aboriginal arts is to go out and experience them!

--   France Trépanier & Chris Creighton-Kelly

Canadian art history began far before any settler put paint to brush. It began out of communication and necessity from the widespread and diverse Native peoples who had no word or concept for “art”. Art was created to enhance practical things like ceremonial dress, clothing, drums and shelter, and pipes. Markings on rock faces told stories and bore tribal identifiers. Carvings, beadings, weavings, and painted markings all served purposes—decoration was always also functional. Unlike the Europeans settlers who had a long history of enjoying art for art’s sake, the creation of beautiful things in Native Canadian communities was secondary to the creation of functional things.

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Galerie Q and French Canadian Art

Galerie Q and French Canadian Art

As a country with two official languages, Canada has a breadth of artistic history stemming from both English and French cultures. The province of Québec has been instrumental in creating fine artists since the arrival of French settlers from Europe and continues to have a distinctive voice in the artistic landscape of the country today. Galerie Q is pleased to be a vessel that brings spectacular Canadian and French Canadian artistic masterpieces to the attention of discerning art lovers and collectors.

Adrien Hébert, Claude LeSauteur, and Albert Rousseau are just some of the French Canadian names that have gained prestige and acclaim in the art world. Galerie Q is very fortunate to represent a fine selection of Canadian artists, one of mention being Royal Canadian Academy of Arts artist Allen Sapp.

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The History Behind Galerie Q's Building

The History Behind Galerie Q's Building

Behind every painting there is a story and within every building there is also a tale. It all began back in the 1900s for the building that Galerie Q now calls home on County Road 10. Originally built and utilized as the first post office in town the building is situated at the 4 corners of Cavan, perfectly set in the heart of the community.

The Cavan Monaghan township is picturesque, providing views of mountains, valleys, farms and creeks and all within 20 km of the City of Peterborough. It is also home to several nationally well-known artists and each year more members of the art community relocate to the area. Cavan is the ideal mix of relaxed country and bustling city life.
There are currently 44 historically designated properties in the Township and many others of interest to the Ontario Heritage Act. Needler's Mill, an 1820 built flour and saw mill, still stands adjacent to a dam that was constructed 192 years ago. The Old Firehall was built in 1881 and is now home to the Firefighters' Association Museum. It is that variety of local history that drew Galerie Q to the area and with it, the desire to keep that history alive.

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The Artist's Passion

The Artist's Passion

The world contains such beauty and we often forget to take a step back to observe it.

It was Hemingway that said, 'There is nothing to writing. All you do is sit down at a typewriter and bleed.' and the lasting impression of his work helps validate such a strenuous commitment. Hemingway and many others know it can be an arduous task, creating, but artists do it because it is their passion; their passion to capture life's beauty and share it with others. Whether it be painting, sculpting, writing or another medium, an artist has a process. The process helps to stimulate the imagination and at times it even provides the assistance needed to endure. An idea, or an image, may invoke in the artist the first step but the path to the final project is rarely guaranteed to be easy. In fact, the creating can fluctuate from being sheer torture to being absolute bliss. The process can be an out of this world roller coaster. But an artist's creation is their baby and in the end, worth all the joy, sweat and tears.

Not everyone may stop to smell the roses but if we have artists, we have their work to admire and through it the chance to catch a glimpse of the best our world has to offer.

Artwork by Nathalie Voisine, available at Galerie Q

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Claude Picher Solo Exhibition

Claude Picher Solo Exhibition

Galerie Q presents the Solo Exhibition of Claude Picher (RCA 1927 - 1998).

Quebec born Picher studied at the School of Fine Arts in Quebec (1945 - 1946) before winning a scholarship from the French government allowing for him to study at the Ecole du Louvre in Paris, France. While in Paris he also attended the National Superior School of Fine Arts (1948 - 1949).

Between 1950 and 1958, Picher was the Exhibition Director at the Musée du Quebec. From there he went on to work at the National Gallery of Canada, Eastern Region (1958 - 1962) and then established himself as the Assistant Director of the Musée du Quebec (1963 - 1964). It wasn't until 1964 that Picher began his life as a full time painter.

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All about Q

All about Q

The marriage of baby blue, soft white and royal yellow swirled across a canvas to create the perfect sunrise setting. The layers of an image, not all at once seen, but when brought together ignite a reaction and feeling. The painting that leaves a lasting impression.These are the things that art can inspire and one of the reasons Galerie Q was established.

We believe arts and culture have the power to change and influence lives and communities through education in a positive way and as a not for profit, social enterprise our goal is to achieve this through programming of exhibitions, exploring the diversity of culture and by revisiting history to generate curiosity and productive public debates. As we are inspired, we wish for you to be as well. With a focus on French Canadian artwork, our gallery currently features paintings by Ginet Leblond, Antoine Dumas, Francesco Iacurto, Bruno Cote and as of January, RCA painter Claude Picher (1927-1998).

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