Pierre Gauvreau (1922-2011)

Luxe, calme et volupté (Charles Baudelaire)
Luxe, calme et volupté (Charles Baudelaire), 1981
acrylic on canvas, 50" × 60"
Le sang de Tiennamen (The Blood of Tiennamen)
Le sang de Tiennamen (The Blood of Tiennamen), 1989
acrylic on canvas, 72" × 48"
Bifurcation, 1991
acrylic on canvas, 48" × 40"
Débandade de l'intention (Intention Put to Flight)
Débandade de l'intention (Intention Put to Flight), 2006
mixed media on canvas, 24" × 24""
Le ciel pleurait des larmes de néant (The Sky was Crying Tears of Nothingness)
Le ciel pleurait des larmes de néant (The Sky was Crying Tears of Nothingness), July 2009
mixed media on canvas, 40" × 40"
Garde-à-vous (Attention!)
Garde-à-vous (Attention!), 2004
acrylic on canvas, 48" × 24"
Maléfices et contre-maléfices (Evil Spells with Counter Spells)
Maléfices et contre-maléfices (Evil Spells with Counter Spells), 2005
acrylic on canvas, 72" × 48"
Allégresse non dirigée
Allégresse non dirigée, 2009
acrylic on canvas, 24" × 18"
Massacre à Wolf River (Massacre at Wolf River)
Massacre à Wolf River (Massacre at Wolf River), 2000
mixed media on canvas, 56" × 44"
La case du grand écouteur (The [fragile] house of the Great Listener)
La case du grand écouteur (The [fragile] house of the Great Listener), 2009
mixed media on canvas, 48" × 40"
La Tour de Babel attend une subvention
La Tour de Babel attend une subvention, 2009
mixed media on canvas, 44" × 44"
Juillet fout le camp (July Buggerse Off)
Juillet fout le camp
(July Buggerse Off)
, 2003
mixed media on canvas, 40" × 30"
Quand l'espace se veut parole (When Space Wants to be The Word)
Quand l'espace se veut parole (When Space Wants to be The Word), 2003
acrylic on canvas, 36" × 30"
Tendresse masquée, (Masked Tenderness)
Tendresse masquée
(Masked Tenderness)
, 2000
mixed media on canvas, 48" × 48"
Verte racine des futurs généreux (Green Root of Generous Futures)
Verte racine des futurs généreux (Green Root of Generous Futures), 2009
acrylic on canvas, 24" × 18"
Foire d'Empoigne
Foire d'Empoigne, 1978
acrylic on canvas, 20" × 26"


Pierre Gauvreau – Artist Biography

Pierre Gauvreau and Janine Carreau
Pierre Gauvreau and Janine Carreau outside their
country home, 2009

Shortly after Simon Dresdnere moved his gallery from Montreal, determined to introduce Toronto art lovers to abstract painting from Quebec, he offered Gauvreau a solo exhibition at his Hazelton Avenue Gallery in 1979. To mark the 30th Anniversary of Pierre Gauvreau's first solo show in Toronto in the exact same building that now houses Gallery Gevik, we are pleased to present a retrospective of choice works.

As an early disciple of Paul-Emile Borduas (inspiring the nickname "[the] born painter"), Gauvreau alongside Jean-Paul Riopelle exhibited together in an international Surrealists show in France (1951). Gauvreau was a signatory of the famous manifesto, Refus Global (Total Refusal), formed and published in 1948 by the Automatistes (1940s) and led by Borduas. The manifesto rejected formal academic strains of teaching and the Automatistes were heavily influenced by Surrealism and automatism. Of all the members, Gauvreau's favouritism towards a subconscious approach to painting: the freshness, the immediacy, and the freedom, solidified his work as "avant-garde". In 1977, after a hiatus of more than ten years during which his energies were absorbed by film and television, Gauvreau's colours intensified, his canvases grew larger, and he began working in a style that combined his earlier gestural brushwork with shapes and techniques associated usually with colour field and hard-edged painting: large areas of bright colour, geometric shapes, and the use of tape and collage to give sharply designated edges. Luxe, calme, et volupte (Luxury, calm, and sensual pleasure) is the earliest example in this Retrospective.

Selected Exhibitions

  • 1941 Drawings and paintings, Jesuit Hall; Meets Borduas
  • 1943 Les Sagittaires, Dominion Gallery, Montreal
  • 1946 Borduas Group, Boas Dance Studio, New York
  • First Automatistes Exhibition, 1257 Amherst Street, Montreal
  • 1951 Rixes - 10 Surrealist Paintings, Jan to July, Galerie Evrard, Lille, France
  • 1971-72 Borduas et les Automatistes, Montreal, 1942-1955. Galeries Nationales du Grand Palais, Paris, France
  • 1978 Modern Painting in Canada: The Collective Unconscious. The Edmonton Art Gallery, Edmonton, AB
  • 1979 Frontiers of Our Dreams: Quebec Paintings in the 1940s and the 1950s, Winnipeg Art Gallery, Winnipeg, MB
  • 1980 Contemporary Arts Society, Montreal 1939-1948. The Edmonton Art Gallery, Travelling Exhibition: Calgary, Windsor, Montreal
  • 1981 Pierre Gauvreau: The First Decade 1944-1954. Agnes Etherington Art Centre, Kingston, ON, curated by Karen Wilkin
  • 1982 Les Estheteiques Modernes au Quebec de 1916 to 1946. National Gallery of Canada, Ottawa, ON
  • 1983 Le Musee du Quebec: 50 ans d'Acquisitions, 500 major works of their Permanent Collection, Quebec
  • 1988 Borduas et ses Contemporains. Galerie Waddington-Gorce, Montreal, QC Refus Global et ses Environs. National Library of Quebec, Montreal, QC

Selected Collections

  • National Gallery of Canada, Ottawa, ON
  • The Art Gallery of Ontario, Toronto, ON
  • The Agnes Etherington Art Centre, Queen's University, Kingston, ON
  • Musee des Beaux-Arts, Montreal, QC
  • The Robert McLaughlin Gallery, Oshawa, ON

Exhibition Introduction

When I met Pierre Gauvreau and had the opportunity to tour his studio, I was somewhat surprised that such fierce, adventurous painting could be the product of such a private, gentle man. As I spoke with him and his wife Janine at their expansive Eastern Township home, however, it became clear to me that behind his gentle countenance was the soul of a revolutionary – part poet, political activist, academic, and artist, Pierre Gauvreau's strength is attested to in his vast contribution to Canadian art and culture over the last seventy years.

Along with Borduas and his fellow rebels, Pierre Gauvreau helped spearhead the Automatistes movement – a reaction to the repressive strangehold held by the clerics over French Canadian culture. The Automatistes aesthetic, which places an importance on creation derived from the unconscious, is present in the unwavering experimental nature of Gauvreau's work. His paintings of the last thirty years are stunning abstractions featuring some of the most complex colour shading I've ever seen. It pained me, as I toured his studio, to choose the pieces for this exhibition, as I found all of them to be profoundly inspiring. Gauvreau's work is a testament to his prodigious talent, commanding he continue to paint at least two-three hours a day despite his age.

For Gauvreau, art-making is his greatest pleasure, and so it is impossible for him not to do so. I, myslef, am a life-long collector and am so honoured to re-introduce him to Toronto's art community in the very gallery where he had his last solo exhibition twenty-five years ago. His work, though strongly rooted in the past, bears a style and content that point toward the future and so he is a fitting addition to our roster of artists whose work I would like to think represents a microcosm of perspectives and cultures. I could not have held this exhibition without the help of some dedicated people. Thank you to Justin Giallonardo for his editorial contribution. Thanks also goes to Janine Carreau for her outstanding photographs and for keeping the most extraordinarily organized studio I've ever seen. Finally, thank you to Gauvreau himself, whose dazzling, playful, deeply serious works have inspired generations of artists and admirers.

— Phillip Gevik, Director

Daphne OdjigDaphne Odjig, Canadian Indigenous Artist and Icon Dies at 97. Click here for more details.

Odjig is frequently referred to as the "Grandmother of Indigenous Art." She has been the recipient of many awards, honours and recognitions for her works, to name a few: The Order of Canada, the Governor General's Award, and eight Honorary Doctorates. Her works have been shown in the National Gallery of Canada, The McMichael Canadian Art Collection, the Canadian Museum of Civilization and the Art Gallery of Ontario.

She established the first native-run fine art print house in Winnipeg, Manitoba in 1971. Known as 'Odjig Indian Prints,' this print house was so successful that it evolved into an Indigenous gallery space in 1974, called the New Warehouse Gallery, run by Odjig and her husband, Chester Beavon. She was also a founding member of the Indian Group of Seven. This artistic group's purpose was to promote Contemporary Indigenous art and artists.

Alex JanvierAlex Janvier's major retrospective, "Alex Janvier: Modern Indigenous Master" is now on display at the National Gallery of Canada in Ottawa.

Alex Janvier is one of Canada's most acclaimed contemporary Indigenous artists. His career of sixty-five years has yielded thousands of paintings, and more than twenty-five murals and public commissions. This retrospective of his artwork is on display from 25 November 2016 to 17 April 2017.

(Photo credit: Kim Griffiths) Click here for more details.