Posts by Alan Klinkhoff Gallery

  • Twilight in the Laurentians above the fireplace at Galerie Alan Klinkhoff in Montreal, steadfastly protected by Winston.

    A selection of quotations — plucked from an array of sources to include comments from contemporaries and students of Maurice Cullen, art critics, and established scholars — are examples of the consistent praise that Cullen receives for his tenacity of colour, inimitable style of painting, and for his integral role in the development of Canadian Impressionism.

  • From left to right: Paul-Émile Borduas, Sans titre, 1951, oil on canvas, 7 3/4 x 12 in next to Léon Bellefleur,Dentelle à l'aube, 1953, oil on canvas, 8 1/4 x 7 1/2 in

    Not to be missed in our Yorkville and Montreal galleries and at klinkhoff.ca is an outstanding selection of Classic Canadian art, from Cornelius Krieghoff & Maurice Cullen to Paul-Émile Borduas & Léon Bellefleur.

  • Lilas Canadien (Lilacs), 1897

    The exquisite Suzor-Coté, Lilas Canadien, painted shortly before Suzor returned to pursue his studies in Paris, demonstrates the aesthetic effect of technique the artist learned from one of his masters in Paris, the important Barbizon painter Henri Harpignies.

  • John Little

    This exhibition will be the first authorized tribute to Little's career, and the opening in Toronto will mark the first time an important presentation of his work will be seen in that city. Although he has always preferred to remain out of the limelight, we are grateful for his encouragement and support behind the scenes. In a letter titled "ENDORSEMENT", he wrote in what is his characteristically modest fashion:

  • In November 2017, at our galleries in Montreal and Toronto we shall celebrate John Little’s 65 year contribution to Canadian painting . John Little is the leading Canadian urban artist of his day. Although Montreal and Quebec City are his painting places, his message is relevant to urban areas in North America of his day.

  • Blog
    April 22, 2017

    LCC Graduate Exhibition 2017

    LCC Graduate Exhibition 2017

    Thanks to the generosity of the Klinkhoff family, we eighteen LCC graduates had the immense privilege of displaying our art at the prestigious Klinkhoff Gallery for a few days. Displaying our work has given us the opportunity to showcase our individual pieces, but also to highlight the importance of being involved in the arts throughout high school.

     

  • Featured Painting: Lawren Harris, Spring in the Outskirts, 1922

    In 1918, while recovering from his recent nervous breakdown, Lawren Harris began to focus on a new architectural subject: recently constructed houses in Toronto’s unplanned, blue-collar suburbs. Located just outside city limits, these unregulated settlements were widely known as “shacktowns.” In 1920, one art critic described the artist as the “first man in Canada . . . to glorify shacks.” A favorite suburban area for Harris was Earlscourt, a rural neighbourhood that had been under incremental development since 1906.

  • Featured Painting: Lawren Harris, A Row of Houses, Wellington Street

    A Row of Houses, Wellington Street is Lawren Harris’ first major canvas depicting downtown Toronto housing. Signed and dated “L S H ’10” on the face of the picture, a faint inscription on the back of the original stretcher, retained and now attached to the current one reads “Street Painting I.” The site can be identified. On the city’s 1880 fire insurance map, the row of six adjoined, two-and-half story brick dwellings was named “St Catharine’s Terrace” and was located on the north side of Wellington Street West between Dorset and John Streets.

  • Featured Painting: Lawren Harris Maligne Lake, Jasper Park, 1924

    In 1924 Lawren Harris and A.Y. Jackson spent August and early September sketching in Jasper Park in the Rocky Mountains. They first walked from Jasper Lodge to Maligne Lake. By horse they went on to the Colin Range, before hiking over the Shovel Pass to the Athabaska and Tonquin valleys. “We camped at the south end of Maligne Lake on a wide delta of gravel,” Jackson wrote in the January 1925 issue of The Canadian Forum. “Round about were vast piles of crumbling mountains that crowded in the cold green, silt-coloured water of the lake… we decided that mountains have to be roughly handled – big rhythms running across and in, paintings built up architecturally, forms considered as abstract in determining their relationship and the creative faculty given free rein.” While the mountains weren’t to Jackson’s taste, this trip initiated Harris’ lifelong love of the mountains.

  • Featured Painting: Lawren Harris Morning Sun Over Hill, Lake Superior (Lake Superior Sketch XXVII) 1922

    In the fall of 1921 Lawren Harris and A.Y. Jackson painted in Algoma then travelled on to Rossport on the north shore of Lake Superior. In the autumns of 1922 and 1923 the two artists returned to Lake Superior, painting at Port Coldwell in 1922 and at Port Munro and Pike Lake in 1923. The artists probably didn’t return to Lake Superior in 1924 as they were painting in Jasper Park and Jackson had to return to Toronto to teach at the Ontario College of Art but they returned to Port Coldwell the following year.

  • Featured Painting: Lawren Harris, Rock and Hill (Lake Superior Sketch CXXXII) 1922

    As Rocks and Hill Rock and Hill may depict the same hillock as Morning Sun over Hill, Lake Superior, though here the light is clear, the foreground rocks more assertive and the lighter colours are darkly outlined asserting their sculptural form. The naked trunks reach up to the top of the frame, creating a vertical and horizontal rhythm. Water, is glimpsed centre left where the clouds are painted with Harris’ characteristic stylization.

  • Algoma (Beaver Swamp), 1920

    In May 1918, following his discharge from the army, Lawren Harris travelled to Manitoulin Island and up the Algoma Central Railway with Dr. James MacCallum, co-financier of the Studio Building. They returned to Algoma in the fall of 1918 with Frank Johnston and J.E.H. MacDonald and, in the fall of 1919, they were joined by A.Y. Jackson. Algoma offered numerous opportunities to paint in a land of varying topography and colour and Harris returned to paint at Mongoose Lake in Algoma in the spring and fall of 1920.

  • Algoma Sketch XLIII c. 1920-1921

    Harris painted in Algoma every year from 1918 to 1921, new travelling arrangements being made in 1919. "The Algoma Central converted an old box-car into suitable living quarters, put in a few windows, four bunks, a stove, water tanks, sink, cupboard, two benches, and a table. We carried a one-man handcar inside for use up and down the tracks - two of us could manage to ride on it - and a canoe for use on the lakes and rivers. A freight train would haul us up the line, and leave the box-car on a siding at Batchewana or in the Algoma Canyon for a week or ten days. Then, on instructions, another freight would pick us up and haul us to another siding."

  • Featured Painting: Lawren Harris, Mountain Sketch (Lake and Mountain) c. 1928

    From correspondence, we know Harris painted around Banff in 1926 and around Lake Louise in 1928, yet there is little contemporary documentation about Harris’ trips to the Rockies after 1924. Nonetheless, it is clear from the volume of mountain paintings he exhibited in the late twenties that he frequently returned there to paint. Some of his strongest mountain canvases date from the end of the decade, including Mountains and Lake (fig. 1) exhibited in the April 1930 exhibition of the Group of Seven titled Mountain in Snow. It was subsequently shown in the Annual Exhibition of Canadian Art at the National Gallery of Canada in January 1931 as Lake and Mountain.

  • Blog
    June 30, 2016

    Arthur Lismer and Georgian Bay

    Arthur Lismer and Georgian Bay

    In the first half of the twentieth century, Arthur Lismer was a peer among an esteemed group of artists who were defining a distinctive nationalistic style of painting inspired by the wilderness of Northern Canada. For Lismer, the North presented an irresistible atmosphere that promised happiness and vitality, Georgian Bay being an especially compelling site for its sense of natural harmony and its proximity to his Toronto residence. It was Dr. James MacCullum, an enthusiastic patron of Lismer’s artistic circle, who first invited the artist and his wife, Esther, to stay with him in 1913 at Go Home Bay in the Georgian Bay region. It took no more than this initial contact to convince Lismer that he had happened upon a true treasure. 

  • "Walking up the steps, it hadn't yet hit me that I was about to greet an ecstatic crowd of people who were there to see my work. Our work. As I took a step inside, I felt a shiver running down my spine. There they were, my paintings, hung up among my fellow classmates' works in the Alan Klinkhoff Gallery. It was an experience that some artists only dream about, yet it was a reality for us." Some squealed in excitement, others stood in shock, and some even shed tears. These were the only appropriate reactions for what we were experiencing. It was the first time any of us had seen our work on public display. Many of us had participated in annual school art shows, but the walls of the Alan Klinkhoff Gallery outmatched those of our school's gym. Knowing that our pieces went up in the places of those of famed artists was a surreal feeling.

  • Painter’s Tools by Joseph-Charles Franchère: A Glimpse Into the Artists’ Process

    Franchère had returned  to his native Montreal and was embarking upon his professional career after several years spent studying in Paris since 1888. During a brief visit to Montreal in 1890, he received an important commission to paint three large religious canvases for the Notre-Dame-du-Sacré-Cœur chapel of the Notre-Dame basilica (unfortunately destroyed in a fire in 1978) and which incited him to return to France to perfect his talent. 

  • Travel and Tourism in Wilkinson's 19th Century Watercolour

    Montmorency Falls has long been a popular year-round destination for Quebecers and tourists alike, each searching for an inspiring spot for contemplation, activities and revelry. In winter, the spray and mist at the foot of the waterfall create a 30-foot high mountain of ice and snow over the rapids, commonly referred to as the “Ice Cone.” This spectacular natural phenomenon just outside Québec City quickly became a major attraction. The area became a destination for climbing, snowshoeing, sledding and tobogganing, sleigh rides, sledding races, ice sculpture and even dancing and picnics! From the end of the 18th Century to around the 1870s, this “exotic” and festive site captured the interest of many British officers proficient in watercolour as well as professional painters and photographers.

  • Duncan Watercolour An Important Snapshot of 19th Century Canada

    This watercolour by James Duncan (1806-1881) depicts a lacrosse game being played on the McGill University playing field, which was located on the west side of the campus.  It was probably painted sometime between 1855 and 1859 because the Grand Seminaire de Montreal (Grand Seminary of Montreal) can be seen on the extreme left of the image.  The seminary was founded in 1840 and the buildings were begun in 1854. The crowd watching the game is standing on property belonging to Sir George Simpson (1786/1787–1860) which was located between Peel Street and MacTavish Street. At the beginning of 1860 Simpson built the Prince of Wales Terrace facing Sherbrooke Street between Peel and MacTavish so the painting has to pre-date 1860. As it would have taken the builders of the Grand Seminaire several years to complete the building the painting is probably done closer to 1859 than 1855.

  • Molinari Stripe Painting A Source of Pure Joy

    Guido Molinari is famous for his vertical band paintings. This one, dated 1968, is from a series that occupied him during the sixties. What is less known is what prompted him to adopt this vertical format, the complete elimination of the horizontal, and the absence of any suggestion of depth in his painting. To answer these questions, one has to contrast Molinari’s approach to painting with the kind of abstract painting developed by Borduas and the Automatistes.

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