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rfmcdonaldMontréal's Musée des beaux-arts has much to see apart from the temporary exhibitions like Focus : Perfection. To avoid become overly swamped, we concentrated on the Canadian gallery, its four levels filled with works--paintings, sculptures--from different eras in Québec and Canadian history.
"Untitled (Two Caribou)", from Nunavut, is indicative of the high caliber of the works in the Inuit display.
There were plenty of markers of Québec history, like the 1811 statue of the Virgin Mary attributed to Joseph Pepin.
François Malépart de Beaucourt's 1786 Portrait d'une femme haïtienne is eye-catching, for its subject matter and the tissue of human relations--between people, across oceans--that it hints at.
The landscapes of Marc-Aurèle Fortin, whether of rural Gaspésie or of Montréal, are luminous. I need to know more about this painter.
Ozias Leduc's L'heure mauve is also striking.
There were also works of the Group of Seven, like the assemblage of six smaller paintings by different artists I saw or Lawren Harris' larger Log Cabin.
Two early 20th century Montréal-based artists, Marian Scott with her Stairway and Henry Rowland Eveleigh with his The Fortune Teller, also caught my interest.
Finally, at the end, I was interested to see another painting by Rita Letendre, Kochak. I had seen a couple of her canvas in the Art Gallery of Ontario
"Untitled (Two Caribou)", from Nunavut, is indicative of the high caliber of the works in the Inuit display.
There were plenty of markers of Québec history, like the 1811 statue of the Virgin Mary attributed to Joseph Pepin.
François Malépart de Beaucourt's 1786 Portrait d'une femme haïtienne is eye-catching, for its subject matter and the tissue of human relations--between people, across oceans--that it hints at.
The landscapes of Marc-Aurèle Fortin, whether of rural Gaspésie or of Montréal, are luminous. I need to know more about this painter.
Ozias Leduc's L'heure mauve is also striking.
There were also works of the Group of Seven, like the assemblage of six smaller paintings by different artists I saw or Lawren Harris' larger Log Cabin.
Two early 20th century Montréal-based artists, Marian Scott with her Stairway and Henry Rowland Eveleigh with his The Fortune Teller, also caught my interest.
Finally, at the end, I was interested to see another painting by Rita Letendre, Kochak. I had seen a couple of her canvas in the Art Gallery of Ontario
