Yves Gaucher: Difference between revisions
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He attended the [[Collège Brébeuf]] in Montreal in 1948, but was expelled for drawing immoral pictures.<ref name="macm" /> These pictures were in fact copied from his textbooks on Ancient Greek and Egyptian art.<ref name="macm" /> He then went on to become an employee of the Canadian Pacific Steamship Line, working in its Montreal and [[Halifax Regional Municipality|Halifax]] offices.<ref name="macm" /> |
He attended the [[Collège Brébeuf]] in Montreal in 1948, but was expelled for drawing immoral pictures.<ref name="macm" /> These pictures were in fact copied from his textbooks on Ancient Greek and Egyptian art.<ref name="macm" /> He then went on to become an employee of the Canadian Pacific Steamship Line, working in its Montreal and [[Halifax Regional Municipality|Halifax]] offices.<ref name="macm" /> |
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After meeting [[Arthur Lismer]], a [[Group of Seven (artists)|Group of Seven]] artist, Gaucher decided to study art seriously. He enrolled at the École des Beaux-Arts in Montreal in 1954, but was expelled in 1956 for taking only the courses he was interested in. After his expulsion, he continued to study art on his own, while earning an income through various jobs.<ref name="macm" /> Gaucher then returned to the École to study printmaking with [[Albert Dumouchel]], where he created a controversial technique of heavy embossing |
After meeting [[Arthur Lismer]], a [[Group of Seven (artists)|Group of Seven]] artist, Gaucher decided to study art seriously. He enrolled at the École des Beaux-Arts in Montreal in 1954, but was expelled in 1956 for taking only the courses he was interested in. After his expulsion, he continued to study art on his own, while earning an income through various jobs.<ref name="macm" /> Gaucher then returned to the École to study printmaking with [[Albert Dumouchel]], where he created a controversial technique of heavy embossing he described as challenging the traditional "taboos".<ref name="national gallery" /> |
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==Art career== |
==Art career== |
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By 1964, however, Gaucher began to focus on painting instead of printmaking. A major influence in his early paintings was the style of artists such as [[Barnett Newman]] and [[Mark Rothko]], part of an art school known as the New York Modernists. This led him to create similar works which emulated the structure of [[modernist]] art, including the use of geometric shapes, flat colour planes and large canvases. He also created art using mathematical relationships, including [[symmetry]], patterning, and spatial relationships, which eventually led to monochromatic works.<ref name="national gallery" /> |
By 1964, however, Gaucher began to focus on painting instead of printmaking. A major influence in his early paintings was the style of artists such as [[Barnett Newman]] and [[Mark Rothko]], part of an art school known as the New York Modernists. This led him to create similar works which emulated the structure of [[modernist]] art, including the use of geometric shapes, flat colour planes and large canvases. He also created art using mathematical relationships, including [[symmetry]], patterning, and spatial relationships, which eventually led to monochromatic works.<ref name="national gallery" /> |
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From 1967 to 1969, Gaucher created a series of "Grey on Grey" paintings. |
From 1967 to 1969, Gaucher created a series of "Grey on Grey" paintings. were to be in , as a based .<ref name="molinas" /> |
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Gaucher was a pioneer of the colour band painting style, which consists of painting expansive vertical or horizontal stripes of uniform, clashing colours. His first works in that style were created in 1970. In that period, he was also interested in chaos and the disruption of space, which manifested itself in his exploration of the diagonal line. This led him to create works arranging flat planes of opposing colours.<ref name="national gallery" /> |
Gaucher was a pioneer of the colour band painting style, which consists of painting expansive vertical or horizontal stripes of uniform, clashing colours. His first works in that style were created in 1970. In that period, he was also interested in chaos and the disruption of space, which manifested itself in his exploration of the diagonal line. This led him to create works arranging flat planes of opposing colours.<ref name="national gallery" /> |
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Revision as of 19:20, 18 July 2013
Yves Gaucher | |
|---|---|
| Born | January 3, 1934 Montreal |
| Died | September 8, 2000 (aged 66) Montreal |
| Nationality | Canadian |
| Education | École des Beaux-Arts in Montreal |
| Known for | Painting, printmaking |
| Spouse | Germaine Chaussé |
Yves Gaucher (January 3, 1934 – September 8, 2000)[1] was a Canadian abstract painter and printmaker.[2] He became a member of the Order of Canada in 1981, and is considered the leader amongst Quebec's printmakers in the 1950s and 60s.[2] His work has been featured in multiple important galleries, including the National Gallery of Canada in Ottawa, the Museum of Modern Art in New York City, and the Victoria and Albert Museum in London.[1]
Early life and education
Yves Gaucher was born on January 3, 1934 in Montreal[3] to Tancrède Gaucher, a pharmacist and optician, and Laura Élie Gaucher, as the sixth of eight children.[4]
He attended the Collège Brébeuf in Montreal in 1948, but was expelled for drawing immoral pictures.[4] These pictures were in fact copied from his textbooks on Ancient Greek and Egyptian art.[4] He then went on to become an employee of the Canadian Pacific Steamship Line, working in its Montreal and Halifax offices.[4]
After meeting Arthur Lismer, a Group of Seven artist, Gaucher decided to study art seriously. He enrolled at the École des Beaux-Arts in Montreal in 1954, but was expelled in 1956 for taking only the courses he was interested in. After his expulsion, he continued to study art on his own, while earning an income through various jobs.[4] Gaucher then returned to the École to study printmaking with Albert Dumouchel, where he created a controversial technique of heavy embossing. When met with criticism, he described his technique as a way of challenging the traditional "taboos".[2]
Art career
Early printmaking success
Gaucher's art career began when he set up an exhibition at the Galerie d'Échange in Montreal in 1957. He enjoyed success afterwards, and as a result became the founding president of Associations des Peintures-Gravures de Montreal in 1960.[2]
In 1962, Gaucher travelled to Europe on a grant from the Canada Council. There, in Paris, he encountered the music of Anton Webern, which became a major influence on him. He began to use more colour contrasts and irregular patterns in his artwork, instead of rational geometric relationships. This, he felt, would better represent the atonality of Webern's music.[2]
Modernism
By 1964, however, Gaucher began to focus on painting instead of printmaking. A major influence in his early paintings was the style of artists such as Barnett Newman and Mark Rothko, part of an art school known as the New York Modernists. This led him to create similar works which emulated the structure of modernist art, including the use of geometric shapes, flat colour planes and large canvases. He also created art using mathematical relationships, including symmetry, patterning, and spatial relationships, which eventually led to monochromatic works.[2]
From 1967 to 1969, Gaucher created a series of "Grey on Grey" paintings. They were intended to be seen individually in terms of linear movement, and together as a colour-based environment.[5]
Gaucher was a pioneer of the colour band painting style, which consists of painting expansive vertical or horizontal stripes of uniform, clashing colours. His first works in that style were created in 1970. In that period, he was also interested in chaos and the disruption of space, which manifested itself in his exploration of the diagonal line. This led him to create works arranging flat planes of opposing colours.[2]
In 1980, Gaucher was nominated for the Order of Canada, and was named a member in 1981.[4] In this period he taught at Concordia University in Montreal.[2] However, a shoulder injury and other health problems would force him to paint on smaller surfaces, and he returned to creating collages, one of his earlier practices.[6]
He died in Montreal on September 8th, 2000.[5]
Personal life
In 1964, he married Germaine Chaussé. They had two sons; Benôit Gaucher was born in 1968, and Denis Gaucher in 1969.[4]
Works
An incomplete list of works by Gaucher:[4]
Prints
- Untitled (1958)
- Espace linéaire No. 1 (1958)
- La Tête No. 2 (1958)
- Untitled (1959)
- 143° (1960)
- Sotoba (1961)
- Asagao (1961)
- Naka (1962)
- Lux (1962)
- Sgana (1962)
- Houda (1963)
- Sono (1963)
- En hommage à Webern (1963) (series)
- Fugue Jaune (1963)
- Transitions (1966) (series)
- Jericho (1978)
- Fente (1986)
- Signal (1991)
- Pauses (1993)
- En pièces détachées (1996) (series)
Paintings
- Conclusion 230 (1960)
- Square Dances (1964) (series)
- Point-contrepoint (1965)
- Signals/Silences (1965) (series)
- Ragas (1966) (series)
- Alap (1967)
- Grey on Grey (1967-69) (series)
- R-69 (1970)
- Champ vert (1971)
- Colour bands (1971-75) (series)
- Orange-jaune (1977)
- Jericho: An Allusion to Barnet Newman (1978) (series)
- Inversions 1 and 2 (1980)
- Phase I, II, and III (1981)
- New Works on Paper (1986) (series)
- Dark Paintings (1986) (series)
- Trinome (1996) (series)
- Red, Blue, and Yellow (1998)
References
- ^ a b "Yves Gaucher". Mira Godard Gallery. Retrieved 8 July 2013.
- ^ a b c d e f g h "Yves Gaucher". Artists A to Z. National Gallery of Canada. Retrieved 8 July 2013.
- ^ Nasgaard, Roald. "Yves Gaucher". Artists. The Canadian Encyclopedia. Retrieved 8 July 2013.
- ^ a b c d e f g h Perreault, Martin. "Chronology" (PDF). Retrieved 8 July 2013.
- ^ a b "Yves Gaucher". Galerie Molinas. Retrieved 8 July 2013.
- ^ "Yves Gaucher". Encyclopedia Britannica. Retrieved 8 July 2013.