Painters 11

Tom Hodgson

Untitled Abstract Compositionsold
Untitled Abstract Composition, 1995
acrylic on board, 14" x 20"
Untitled Nudesold
Untitled Nude, 1965
watercolour and ink on paper, 19" x 14"
Untitled, 1991
acrylic on canvas, 56.5" x 67"

Jock MacDonald

Plato's Cave, 1960
oil on board, 16" × 20"

Ray Mead

Untitled, c. late 1980s
mixed media on paper, 32" ×40"

Kazuo Nakamura

Suspension, 1968
oil on canvas, 31" × 24"
Untitled (Landscape), 1964
watercolour on paper, 2.5" × 14.5"

William Ronald

Gift for Alana, 1987
oil on canvas, 12" × 16"
Scott's Vision, 1997
acrylic on canvas, 48" × 36"
Chrysanthenum, New York, 1955
watercolour on paper, 17" × 19"
Sally's Fright, 1968
acrylic on canvas, 108" ×144"
Untitled, 1956
acrylic on masonite , 11" ×14"
Printemps, 1954
watercolour on paper, 17" × 19"

Harold Town

Untitled, 1958
oil and lucite on canvas, 10" ×10"
Vale Variation #235
Vale Variation #235, 1976
coloured crayon on paper, 19½" × 25½"
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 #148
Toy Horse #148, 1979
mixed media on paper, 29½" × 36½"
Snap #53sold
Snap #53
oil on canvas, 60" × 60"
Snap #25
Snap #25
oil on canvas, 48" × 48"
Snap #47sold
Snap #47
oil on canvas, 24" × 24"
Ship of Dreams
Ship of Dreams, 1981
oil on linen, 36" × 30"
God Series #22
God Series #22, 1979
mixed media on paper, 19" × 25"
The Reverend Evan Sedgemore Blowing his Bugle Under Water
The Reverend Evan Sedgemore Blowing his Bugle Under Water, 1980
oil on canvas, 28" × 36"

See: Harold Town's Popsters & Celebrities

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.

Note: sold indicates the piece has been sold.

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 open at the McMichael Canadian Art Collection in Kleinburg, Ontario until January 21st, 2018. Afterwards, it will travel to the Beaverbrook Art Gallery in Fredericton and the Glenbow Museum in Calgary.

This exhibition was recently on display at the National Gallery of Canada in Ottawa and the MacKenzie Art Gallery in Regina. Alex Janvier is one of Canada's most acclaimed contemporary artists. His career of sixty-five years has yielded thousands of paintings, and more than twenty-five murals and public commissions. (Photo credit: Kim Griffiths)

Rita Letendre

It is with profound sadness that Gallery Gevik announces the passing of our dear friend Rita Letendre, one of Canada’s most renowned, trailblazing artists. She passed away on November 20, 2021 after a long illness. She was 93 years old.