Painters 11

Harold Town  ·  William Ronald  ·  Jock MacDonald  ·  Alexandra Luke  ·  Tom Hodgson  ·  Kazuo Nakamura

Harold Town

Enigma, 1967
mixed media on paper, 25½" × 20"
French Postcard Series (1972)
French Postcard Series, 1972
oil pastel on canson paper, 25¾" × 19"
Vale Variation #84
Vale Variation #84, 1973
pen, brush & ink, graphite, gouache, and oil pastel on canson, 19¾" × 25½"
Vale Variation #235
Vale Variation #235, 1976
coloured crayon on paper, 19½" × 25½"
Stages #38
Stages #38, 1987
mixed media on board, 26½" × 26½" × 3¾"
Toy Horse #148
Toy Horse #148, 1979
mixed media on paper, 29½" × 36½"
Toy Horse #325
Toy Horse #325, 1982
mixed media on paper, 18" × 22"
Toy Horse #284
Toy Horse #284
mixed media on paper, 23½" × 23½"
Toy Horse #229sold
Toy Horse #229, 1979
gouache/ink, 22" × 29½"
Toy Horse #243
Toy Horse #243
mixed media on paper, 30½" × 30"
Snap #53
Snap #53
oil on canvas, 60" × 60"
God Series #22
God Series #22, 1979
mixed media on paper, 19" × 25"
Ship of Dreams
Ship of Dreams, 1981
oil on linen, 36" × 30"
Snap #25
Snap #25
oil on canvas, 48" × 48"
The Reverend Evan Sedgemore Blowing his Bugle Under Water
The Reverend Evan Sedgemore Blowing his Bugle Under Water, 1980
oil on canvas, 28" × 36"
Snap #47
Snap #47
oil on canvas, 24" × 24"
Humphrey Bogart
Humphrey Bogart, #14, 1971
charcoal on paper, 32.5" × 23"
Oliver Hardy
Oliver Hardy, #613, 1971
bruch, ink, wash & rubber cement
resist on orange canson
, 20" × 24"

See: Harold Town's Popsters & Celebrities

William Ronald

Untitled #2
Untitled #2, 1992
acrylic on paper, 22" × 30"
Untitled #1
Untitled #1, 1992
acrylic on paper, 22" × 30"
acrylic on canvas, 10" × 12"
Printemps, 1954
watercolour on paper, 17" × 19"
Gift for Alana
Gift for Alana, 1987
oil on canvas, 12" × 16"

Jock MacDonald

Plato's Cave
Kite Flying, 1948
oil on canvas, 26" × 36"
Abstract Composition
Abstract Composition, 1960
oil on canvas, 28" × 22"

Alexandra Luke

Petit Bouquet
Pétit Bouquet
oil on board, 9" x 12"

Tom Hodgson

Untitled Abstract Composition
Untitled Abstract Composition, 1995
acrylic on board, 14" x 20"
Untitled Nude
Untitled Nude, 1965
watercolour and ink on paper, 19" x 14"
Untitled, 1992
Untitled, 1992
acrylic on canvas, 57" x 66"

Kazuo Nakamura

Untitled (Landscape), 1964
watercolour on paper, 2.5" × 14.5"
Morning, 1958
watercolour on paper, 22" × 15"


Painters 11 – Biography

Toronto's Painters Eleven (variant names: Painters 11 or P11) initially met as a group in 1953. Emerging a decade later than the Automatistes, they looked to New York for their immediate inspiration.

Stylistic individuality was always their artistic goal - they never attempted to articulate an aesthetic program. Painters Eleven was a disparate group, its members either quite young, or if they were not, still finding their way artistically, when they began to meet around 1950. They had their first show at the Roberts Gallery in 1954.

Later that same year, William Ronald (1926-1998) had his first one-man show at Hart House. All the while, Ronald was deciding that his future was to be in New York and moved there in 1954. American art critic, Lawrence Campbell wrote in Art News, "[Ronald is] the most sensational of the group," approving his "crude, vital, off-beat, scaffold-constructions, part automatist, part-deliberate". After his New York triumphs, Ronald moved back to Toronto and miraculously showed his new work at the Christopher Cutts Gallery in 2000. The Ronald of the second half of the 1950s had resurfaced uninhibitedly, the old central-image format back in all its painterly exuberance but tested and challenged.

Painters Eleven had a propensity to zero in on areas of dense detail where anything goes: the paint was squeezed, swirled, dribbled, splashed and scraped. The work of Harold Town (1924-1990) captures this expressive style in Oasis. Harold Malcolmson explained Town's procedure:

Town's characteristic method of constructing a canvas is the contrast of opposites. His approach is not to take a single idea and lay it out. Instead Town employs a colour, a shape, or a texture and then introduces its opposite and its opposite and so on. This technique of synthesis, antithesis, and resolution seems to me to account for the fact that a Town canvas often seems a contest, an argument, a clash of opposed wills. Town will introduce a colour so brilliant, so brittle and powerful, that is seemingly must overbalance his picture, then with astonishing virtuosity and dexterity he will introduce some contrasting new elements that magically create a new equilibrium.

— Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre Ltd., Vancouver, BC, 2007.

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.