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Beginning at the age of nine, I felt a desire to express the beauty of nature and the things around me. The urge to draw and paint first arose in relation to wild scenery, where one can hear the silences, the murmuring of water, and everything that is alive. A strong sensation comes from seeing a bit of what the great work called nature brings out in terms of inner feelings. First and foremost, the dramatic poetry of nature is what I try to grasp in images.
Painting signifies capturing the spontaneous emotion aroused within and dialoguing with a subject that we know will, from the outset, determine whether the image produced will be good, will be intense and dynamic, and will posses this emotion that I am attuned to and which, having its own light, is the essence of painting. The reflections in water, trees, nature in its grandeur and humility and mystery – all this I urgently paint out of a deep love for life and the need to convey this love. Nature, in its majestic nooks and crannies, is filled with dignity. There is a logical correspondence between art and life. I feel the need to refine the sensitivity of my inner vision. Art is a way of reflecting and questioning oneself. It is a way of delving deeper into questions over human power and knowledge and the potential of individuals. What I think about while I am painting. I attempt to render what I took in at first glance, expand on this, and place it within a perspective. I experience a state of felicity, of intense magic. I could not live without painting. I consider this activity to be an homage to all that is beautiful. An artist must have the ability to leave a painting be in order to preserve its movement and avoid producing fixity. The Russian painter Levitan told his students:
Try to discover the perpetual in the contemporary, to produce a portrait of one's country and one's time. [Try to convey] the unity of thought, sensitivity and understanding of the beautiful; address nature directly, see it with your own eyes, develop this memory we have of things and smells and even our capacity to recall the crowing of the cock. One never really knows what one is looking for in painting. However, one can discover it by dint of feeling whatever it is one wants to hold on to above all else. I continue to believe that art is a place of consolation for the solitude of human beings. If I may conclude with a special wish for all those who, like myself, while sitting by a pond or standing before a mountain, discovered a desire to share their feelings and thoughts, may my painting touch you, if ever so slightly. Born in 1932, in Danville, Estrie, Quebec, Canada. TRAINING 1965-67 : Training program "L'Atelier des mercredis", The Wednesday workshops. Teacher : Renowned artist François Déziel, for drawing. Montréal: 1971 and 1972 : Technique and colour classes with Master Harold Boyes, Montréal 1972 : Courses at the Académie des arts de Montréal, Montreal Art Academy. 1974 : Courses at Ecole d'art du Mont-Royal. Montreal Art School (drawing and working with live models). EXHIBITION Yvette Boulanger has held numerous group and individual exhibitions in many Canadian provinces and cities: Collège Loyola de Montréal, Montréal, 1968 (group) Club Social Laurentien, Montréal, 1968 (group) Au Vieux Fort, La Prairie, 1973 (individual) Galerie des Peintres Canadiens, Montréal, 1976 (individual) Galerie l'art français, Montréal, 1978 (individual) Galerie l'art français, Montréal, 1980 (individual) Galerie Bigue Osler, Toronto, 1981 (individual) Galerie l'art français, Montréal, 1982 (individual) Galerie Pierre Larin, St-Sauveur, 1983 (individual) Galerie l'art français, Montréal, 1984 (individual) Permanent exhibition: Galerie Jacques De Bellefeuille, Westmount, Québec Galerie d'Art Yvon Desgagnés, Baie St-Paul, Québec Galerie Basque, Rimouski, Québec Galerie d'Art Laroche Denis, Québec, Québec Galerie Michel-Ange, Vieux-Montréal, Québec Galerie d'Art La Marée Montante, Saint-Jean, Ile d'Orléans, Québec REFERENCES Art actuel au Québec depuis 1970 by Guy Robert, Iconia, 1983 Le paysage au Québec depuis ses origines, Guy Boulizon, 1984 30 Peintres figuratifs du Québec (Louis Bruens), Éditions du Trécarré, 1985 Revue Le collectionneur. Revue sur les natures mortes, published by Galerie l'art français. 52 Couleurs du Québec... cinquante-deux peintres (Louis Bruens), Éditions La Palette, 1987 Magazin'Art. Répertoire biennal des artistes canadiens en galeries 1996-1997 Magazin'Art. Répertoire biennal des artistes canadiens en galeries 1998-1999 Guide de Roussan, Peintres du Québec, Marché de l'Art, 5e édition, 1998 Agenda d'Art, 1997 et 1998 Guide Vallée, Marché de l'Art, 1983, 1989 et 1993-1994 Investir dans les oeuvres d'art, Guide de la peinture figurative (Louis Bruens), Éditions La Palette, 1988 COLLECTIONS Many of her paintings can be found in public and private collections in Canada and abroad. For example, one of her paintings was offered in 1984 to Juan Carlos, King of Spain, by Jean Drapeau, then mayor of Montréal. Two of her works were offered in 1985 to Russia by Joe Clark, then Canada Minister of External Affairs. Corporate collectors: Adative lnternational (Montréal), Crown Premiums Inc., Investissements Immobiliers Deca Inc., Helycorp (Montréal), La belle Fourrure (Montréal), Montréal Trust, Midland Doherty (Montréal), Ordre des Infirmiers et des Infirmieres (Montréal), Premier Personnel (Montréal), Repap Paper (Montréal), Steinberg's Limited (Montréal), etc. Private collectors: Toronto, Montréal, Québec, Fort-Lauderdale, Bruxelles, etc. BIBLIOGRAPHY Arts critics have been interested in Yvette Boulanger's career. Many Canadian publications have written articles, reviews and biographies about her work: Le paysage au Québec depuis ses origines, Quebec landscapes since its origin. 30 Peintres figuratifs au Québec, 30 Figurative painters in Quebec. 52 Couleurs du Québec, The 52 Colors of Quebec. Investir dans les oeuvres d'art, magazine "Le Collectionneur", Investing in Arts, Le Collectionneur Magazine. |
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