We spent ten days across the river from Quebec City in the Levis district in the village of Saint-Romuald. We found that we greatly like the towns across the river from Quebec City since they were less touristy. On days we wanted to see Quebec we could drive there is 25 minutes or we could take a ten minute ferry ride that took us directly to Old Quebec. Either way it was easy to get to Quebec.
We greatly liked the historic town of Levis and found a great deli with incredible food and ingredients that delighted us for days. We also returned to this section for our anniversary celebration. It was full of locals and it felt more like a real vibrant community than the tourist areas of Quebec.
We greatly liked the historic town of Levis and found a great deli with incredible food and ingredients that delighted us for days. We also returned to this section for our anniversary celebration. It was full of locals and it felt more like a real vibrant community than the tourist areas of Quebec.
Musee National Des Beaux-Arts Du Quebec
Bill Vazan is a major figure of Canadian conceptual art and land art. "For two years, Vazan used an obsolete piece of office equipment, the date stamp, to enumerate, patiently and systematically each date of the twentieth century from January 1 1900 to December 31 1909. XXth Century invites contemplation and measures space as much as it does time. Bill Vazan imbued his activity with a performative aspect. In a word, he assigned to the surface of the canvas not a time, but time itself. "
And Then, We Built New Forms
"And Then, We Built New Forms features thirty-six artists from Quebec and Canada, the United States, France, Russia, Austria, Mexico, the Netherlands and Guatemala who employ art as a tool to Interface with interventionist and often, political positions. The exhibition Includes artworks that develop a polltic of having more collective and individual influence In the world and starts with a consideration that Quebec artists have played a role in giving voice to the 99% and in utilizing art as an effective vehicle for social change.
Within a larger series on adolescence, entitled Des helicos sur I'tlot Fleurie, Jean-Robert Droulllard formulates contemporary images of youth today through two inter-related exhibitions at the Manif d'art 7: at the Musee national des beaux-arts du Quebec and the Espace 400e Bell. Broadly looking at youth through succinct mise-en-scenes composed of life-size basswood sculptures juxtaposed with porcelain objects, the series raised questions about visual narrative, youth culture as well as what Is at stake within contemporary social values.
At the MNBAQ a cheerleader stands In a pose of emancipation and celebration, surrounded by over one hundred porcelain spray cans. Playing with archetypes of North American youth culture, the sculptural
installation could be viewed as a throwback to another epoch, therefore confusing the temporality of the contemporary moment. This contamination of time is further complexified by Drouillard's use of his sons and their partners as models for his figures. Inspired in part by the 2012 student protests, which his sons participated in, the artist extends his desire for a more hopeful and socially just society by representing the personal realm of his own life."
Vicky Chainey Gagnon, Curator
Jean-Robert Drouillard
Born in 1970 in Chathan, Canada, Live and works in Quebec City, Canada
A few particles of us in an accelerator, 2013-2014
Sculpture installation basewood pallet, porcelain
"And Then, We Built New Forms features thirty-six artists from Quebec and Canada, the United States, France, Russia, Austria, Mexico, the Netherlands and Guatemala who employ art as a tool to Interface with interventionist and often, political positions. The exhibition Includes artworks that develop a polltic of having more collective and individual influence In the world and starts with a consideration that Quebec artists have played a role in giving voice to the 99% and in utilizing art as an effective vehicle for social change.
Within a larger series on adolescence, entitled Des helicos sur I'tlot Fleurie, Jean-Robert Droulllard formulates contemporary images of youth today through two inter-related exhibitions at the Manif d'art 7: at the Musee national des beaux-arts du Quebec and the Espace 400e Bell. Broadly looking at youth through succinct mise-en-scenes composed of life-size basswood sculptures juxtaposed with porcelain objects, the series raised questions about visual narrative, youth culture as well as what Is at stake within contemporary social values.
At the MNBAQ a cheerleader stands In a pose of emancipation and celebration, surrounded by over one hundred porcelain spray cans. Playing with archetypes of North American youth culture, the sculptural
installation could be viewed as a throwback to another epoch, therefore confusing the temporality of the contemporary moment. This contamination of time is further complexified by Drouillard's use of his sons and their partners as models for his figures. Inspired in part by the 2012 student protests, which his sons participated in, the artist extends his desire for a more hopeful and socially just society by representing the personal realm of his own life."
Vicky Chainey Gagnon, Curator
Jean-Robert Drouillard
Born in 1970 in Chathan, Canada, Live and works in Quebec City, Canada
A few particles of us in an accelerator, 2013-2014
Sculpture installation basewood pallet, porcelain
"Here, I represented three-dimensional spaces in the form of Chinese calligraphy: the light airy background envelops these floating mobiles. ... These characters floating on a surface create spaces: they are brought to life by the contrasts of colour and texture. I love playing with spaces. I love large surfaces."
Jean Dallaire, 1957
Jean Dallaire, 1957
"Despite its humble state, a scupture remains as entity in which the artist's expression stems from his won struggle. ... You have to dominate the appeal of facile works, avoid yielding to mercantilism... There is a theory that says you must follow the grain of the wood; personally, that doesn't concern me. I think I "bash" the wood. Which is why I don't use olive wood:it's too beautiful to be bashed... Although I like wood, I have no respect for it."
Robert Roussil
"Words cannot fully express painting... Some emotions are untranslatable... Like feelings, paintings are also contradictory at times. They are tension lines..."
Marelle Ferron
Marelle Ferron
"Surrational Automatism: unpremeditated writing in plastic matter. One shape calls up another until a feeling of unity is achieved, or a feeling that to go further without destruction is impossible. During the process, no attention is paid to the content. This freedom is justified by the conviction that content is inevitably linked to form: Lautreamont. Complete moral independence with regard to the object produced. ... A desire to understand the content once the object is finished. Hoped for" a sharpened awareness of the psychological content of any form, of the human universe as it is made the universe as such."
Paul-Emile Borduas, 1948
Paul-Emile Borduas, 1948
TRIBUTE TO ROSA LUXEMBURG is the largest ever produced BY JEAN-PAUL RIOPELLE
Marked by a highly personal style, it constitutes a painted metaphor for his life an art. Today, this expansive composition is generally considered the artist's pictorial last will and testament.
Despite its title, the work should not be seen solely as a tribute to Rosa Luxemburg, the famous Polish revolutionary born in 1870 and assassinated in 1919. Reference to his heroine, a militant member of the German Communist Party, masks the painter's deeper intention, which was to pay homage to Joan Mitchell, his companion of almost twenty-five years. An American painter of international renown, Joan Mitchell—whom Riopelle playfully dubbed Rosa Malheur, alluding to Rosa Bonheur, 19th century , animal artist—died suddenly in Paris on October 30,1992. When the news of her death reached him on the He aux Oies, Riopelle somewhat compulsively turned to creating this monumental fresco.
A 40 meter long triptych, it comprises a series of 30 rectangles containing as many individual works.This constructed sequence gives rise to a narrative structure reminiscent of a cartoon.The viewer must move about to read the different scenes, of this bizarre world, peopled by phantom prints of objects that Riopelle borrowed from nature—birds, ferns—and from the handyman's workshop—nails, car fans, punches, shears.The artist obtained these ghostly images by applying the objects themselves to the canvas, and tracing them with spray pain, a technique that makes for very rapid execution. On a certain level, in authorizes comparison between the work of Jean-Paul Riopelle and that oi graffiti artists, who adorn our city walls.
Marked by a highly personal style, it constitutes a painted metaphor for his life an art. Today, this expansive composition is generally considered the artist's pictorial last will and testament.
Despite its title, the work should not be seen solely as a tribute to Rosa Luxemburg, the famous Polish revolutionary born in 1870 and assassinated in 1919. Reference to his heroine, a militant member of the German Communist Party, masks the painter's deeper intention, which was to pay homage to Joan Mitchell, his companion of almost twenty-five years. An American painter of international renown, Joan Mitchell—whom Riopelle playfully dubbed Rosa Malheur, alluding to Rosa Bonheur, 19th century , animal artist—died suddenly in Paris on October 30,1992. When the news of her death reached him on the He aux Oies, Riopelle somewhat compulsively turned to creating this monumental fresco.
A 40 meter long triptych, it comprises a series of 30 rectangles containing as many individual works.This constructed sequence gives rise to a narrative structure reminiscent of a cartoon.The viewer must move about to read the different scenes, of this bizarre world, peopled by phantom prints of objects that Riopelle borrowed from nature—birds, ferns—and from the handyman's workshop—nails, car fans, punches, shears.The artist obtained these ghostly images by applying the objects themselves to the canvas, and tracing them with spray pain, a technique that makes for very rapid execution. On a certain level, in authorizes comparison between the work of Jean-Paul Riopelle and that oi graffiti artists, who adorn our city walls.
The museum states the following:
'This exhibit proposes to examine the seminal dialogue which took place between the founding painters of modern Canadian art, James Wilson Morrice and John Lyman, with Henri Matisse."
Both Tom and I were not impressed with this group of paintings. I have included the best, but most left us cold. I like a bit of Matisse's artwork that I have seen before this visit, but the ones that were included in this collection were some of the worst that I have seen. They did not allow the Matisse art to be photographed and I thought perhaps (LOL) they wanted to keep these poor works hidden from the public to save his name. I wanted to like them ...
'This exhibit proposes to examine the seminal dialogue which took place between the founding painters of modern Canadian art, James Wilson Morrice and John Lyman, with Henri Matisse."
Both Tom and I were not impressed with this group of paintings. I have included the best, but most left us cold. I like a bit of Matisse's artwork that I have seen before this visit, but the ones that were included in this collection were some of the worst that I have seen. They did not allow the Matisse art to be photographed and I thought perhaps (LOL) they wanted to keep these poor works hidden from the public to save his name. I wanted to like them ...
Jean Paul Lemieux
"Although its composition seems quite simple in appearance. The Express Train is in fact dominated by a comples series of references to space and time, to transience and lastingness, to the "here and now" of painting. A point of extreme tension, form in charged with meaning on this surface which might otherwise have been appreciated for its formal beauty alone. Lemieus's art, however, while it draws on geometric order and schematic forms, does not abandon representation."
"Over the course of his career, Jean Paul Lemieux never took up abstraction. yet he always stayed in touch with the art being made around him and, despite his attachment to the human figure, he explored the symbolic power of form by reducing it to its simplest expression. He thus grazed the boundaries of non-representation and abstraction, and Highway is a fine example of this slippage."
Alfred Pellan
Paris Sojourn:
"After his studies at Ecole des beau-arts de Quebec, Alfred Pellan, then only twenty years old, set out for paris, where he assimilated in an eclectic and intuitive manner the aesthetic ideas of various avant-garde movements, including Cubism. Fauvism and Surrealism. Imbued with the stylistic influence of artists he admired, such as Pablo Picasso, Vincent van Gogh, Pierre Bonnard, Henri Matisse, Georges Braque, Paul Klee, Joan Miro and Fernand Leger, he created works with explored various kind of pictorial abstraction. "
"After his studies at Ecole des beau-arts de Quebec, Alfred Pellan, then only twenty years old, set out for paris, where he assimilated in an eclectic and intuitive manner the aesthetic ideas of various avant-garde movements, including Cubism. Fauvism and Surrealism. Imbued with the stylistic influence of artists he admired, such as Pablo Picasso, Vincent van Gogh, Pierre Bonnard, Henri Matisse, Georges Braque, Paul Klee, Joan Miro and Fernand Leger, he created works with explored various kind of pictorial abstraction. "
Jean-Paul Riopelle
"In 1953 and 1954, following the dripping technique employed in canvases of the previous years, Riopelle's painting became more structured. The agglomerations of unmixed paint, evocative of crystals, were most often applied with a spatula and knife. Across vast surfaces the thick and colourful strokes create rhythms at once copious and staccato. Af few traces of dripping can still be seen. As the work progressed the contrasts became accentuated. After 1954, Jean-Paul Riopelle's work was not only internationally known, but was applauded as one of the most significant contributions of the post-war period."
Fernand Leduc
The dogs are seeming to enjoy the trip even though we've been in the big city lately. Tom has been diligent about taking them each out for two off leash runs a day. It's kept their spirits up and has tired them out. A tired dog is a good dog. They each have a few options as where to sleep or hang out so they can get up and move around. Occasionally, Kayla gets in the way and underfoot when cooking since there isn't room for her to be near us, but we are learning the move around each other as if in a dance.