It’s hard to believe that it’s been two years since we lost beloved Masters Gallery artist and good friend, Claude A. Simard, known and sought-after for his vibrant and joyful paintings. To honour his incredible career illuminating hundreds of walls across the globe, The City of Quebec has organized a year-long retrospective exhibition of Claude A. Simard’s work at the Historical Cultural Centre de Sainte-Foy (2825, chemin de Sainte-Foy). The show opened on September 21st, 2016 and will continue until September 3rd, 2017 and is a must-see if you find yourself in the area. And, to further this much-deserved honour, Simons has designed a stunning silk scarf with one of Claude A. Simard’s paintings that you can take a look at here.
(Image: Claude A. Simard, Spring Blues, 2002, acrylic on canvas, 30×36 in.)
Calgary Artwalk 2016 is less than a month away and we’re pleased to announce that we’ll have Amy Dryer here doing a live painting demonstration. Mark your calendars and make sure you join us on September 17th to see an extraordinary artist at work!
Publishers, Douglas & McIntyre, joined forces with author, Monique Westra, to compose the stunning new book, Chris Flodberg: Paintings. To celebrate, we’ll be holding a book launch and exhibition and sale of Chris Flodberg‘s work here September 22-October 1, 2016. In the meantime, come by the gallery to get your copy.
About the book:
Calgary artist Chris Flodberg is a virtuoso oil painter, a painter’s painter. He became known for his landscapes but has since tackled a startling range of themes: World War II warships, intimate interiors, post-apocalyptic banquets, abstracts, guard dogs and, most recently, ninety-six self-portraits in ninety-six different styles. These are monumental paintings that grab the viewer by the throat and demand attention.
Flodberg is inspired by art history, but the art he creates is his alone: visceral, intensely rendered, relentlessly probing, beautiful but often uncomfortable. An acutely self-aware painter, Flodberg places a high value on honesty. His art is a dazzling collection of self-portraits and statements on everything from war and greed to the blossoming trees on his street.
Chris Flodberg: Paintings brings together 160 of Flodberg’s paintings from his first two decades. It is accompanied by five essays by Monique Westra and short musings by the artist himself.
Masters Gallery and Masters Gallery Framing will be closed July 10th – 18th, reopening on Tuesday, July 19th. We apologize for any inconvenience and look forward to seeing you upon our return!
(Image: Patrick Douglass Cox, Bucket and Shovel, 2016, egg tempera, 16×12 in.)
Masters Gallery and Masters Gallery Framing Studio will be closed Friday, July 1st to celebrate Canada Day. We look forward to seeing you back here Saturday, July 2nd!
(Image: David Thauberger, Still Water, 2016)
Our congratulations go out to Ian Sigvaldason, Scott Steedman and Read Leaf Press for winning a Benjamin Franklin gold seal award for their book, Art for War and Peace. This is said to be the highest honour in America for independent publishers and an incredible feat for a Canadian book!
If you haven’t got your copy yet, we have the Art for War and Peace available in the gallery. For more information, you can visit the book’s website.
On May 14th, we’ll be hosting the opening of Amy Dryer‘s next exhibition and sale, Algonquin, where we’ll show paintings from her time in Algonquin Park. Here, she shares a few words about her experience:
To paint en plein air is a complicated and exhilarating experience that involves a simultaneous focus on the subject, the environment, and personal reinterpretation of that space. The process of distilling an immense amount of environmental detail down to its bare bones is part of what makes my practice so exciting. I am fascinated by the intricacy of the landscape; by the way it engages its visitor without effort, wrapping her in itself. I have long loved the Canadian land; though I live in the city, I have often traveled to lose myself in her grandeur and detail of the wilderness.
When I imagine Tom Thomson and the members of the Group of Seven, I think of their desire to leave Toronto and find themselves in Algonquin Park. I think of the cabin in the woods that my husband and I visited this past fall – a cabin Tom Thomson inhabited – and its haunting and rustic simplicity. I imagine Tom looking out the window of the little wooden structure, towards the lake, and I feel a sense of wonder at this connection.
When my husband, Aaron, and I traveled to Algonquin Park, we were surrounded by velvety black starry nights, canoes, and magnificent trees. A hundred years ago, this landscape was a symbol for a number of young Canadian painters – people with a vision for both their work and their interpretation of place. As a young female artist, I aimed to engage in this powerful and significant space myself. My focus was to immerse myself in the practices of Tom Thomson and members of the Group of Seven, and to paint – in my own way – a landscape of significant heritage.
I have been drawn to Tom Thomson’s way of painting, balancing abstraction and representation. His understanding of paint – its density and vulnerability, resting on the surface, representing a mark made in time – is powerful.
As a result, I both connected with art history, and the present moment. While being aware of Tom Thomson’s marks and movement in the space I was in, I too lost myself in Algonquin Park: a single tree, a glob of orange paint, a descending fall light, a canoe resting on the shore, a series of overlapping lily pads. I am continually drawn to moments that are both familiar and enigmatic, the mystery of a place sculpted and remembered through the eyes of other artists and the moment that I am painting in.
Algonquin will be at Masters Gallery from May 12th until May 21st. Visit our website for more information.