Born in Québec, Alfred Pellan (1906–1988) earned critical acclaim in the 1930s and helped pave the way for modern art in Québec. In the 1950s and 1960s, he gained renown and shaped the urban landscape through the murals he created on public and private buildings. Later in his career, Pellan embraced his desire to experiment with different media and techniques. The recipient of many prestigious awards and honours, he exhibited widely in Canada and abroad, and his work continues to be shown internationally. Several monographs, documentaries, and articles are devoted to the artist and his oeuvre.
Alfred Pellan spent a significant part of his early career in Paris, and he was influenced by European modernism—an artistic movement whose followers rebelled against conservative, academic traditions. Pellan fully embraced experimental approaches to artmaking, although this decision was initially met with resistance in his country of origin, where conventional ideas still dominated the Québec art scene. His oeuvre reflects a blend of various elements: Pellan managed to incorporate his personal beliefs, his formal training, and his interpretation of Québécois culture into his own synthesis of European modern art. Returning to conservative French Canada in the 1940s with revolutionary ideas about modern art. Influenced by movements such as Cubism and Surrealism, he developed an eclectic approach to painting and fought to free art from dogmatic thinking. While Pellan was an energizing force in Quebec culture, he was also no stranger to conflict, and his life was as daring and colourful as his canvases. His influence can be seen everywhere from gallery walls to city murals; his spirit lives on through the work of creative rebels who defy convention in their art.
Alfred Pellan had a courageous and eclectic approach to art. Driven by a desire for reinvention, he was perpetually evolving. From his very first paintings, through his Modernist canvases, murals, and theatrical work, to his unusual objects and late serigraphs, he taught his audience to expect the unexpected. Pellan engaged with abstraction, played with techniques borrowed from cutting-edge movements such as Cubism and Surrealism, and eagerly explored a range of media. But a common thread runs through the artist’s varied oeuvre: he maintains a balance between line and colour that creates a sense of harmony in every work.
As a defender of an aesthetic that refuted traditional artistic forms, Alfred Pellan contributed to setting Canadian painting free from restrictive ideology and delivering it into the modern era. He left his mark on Quebec at a time when the province had become suffocatingly conservative. His radical style, his exhibitions, his work with the group Prisme d’Yeux, his activities as a professor at the École des beaux-arts during the 1940s, and his efforts to resist censorship offered the possibility of creative liberation to those yearning for more than their oppressive environment would allow.
© 2024. All content on this blog is protected by international copyright laws All images are copyrighted © by Alfred Pellan or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
|
Alfred Pellan |
|
Alfred Pellan in his studio
|
|
Nature morte avec assiette (Still Life with Plate), c. 1922 |
|
Portrait de femme (Portrait of a Woman), c. 1930 |
|
De la tête aux pieds, Monsavon, savon crème (“From head to toe, Monsavon, cream soap”), c. 1933 |
|
Fruits au compotier (Fruit in a Fruit Bowl), c. 1934
|
|
Jeune fille au col blanc (Young Girl with White Collar), c. 1934 |
|
La table verte (The Green Table), c. 1934 |
|
Jeune comédien (Young Actor), c. 1935 |
|
Peintre au paysage (Artist in Landscape), c. 1935 |
|
Mascarade (Masquerade), c. 1939–42 |
|
fleurs et dominos, c. 1940 |
|
Fillette à la robe bleue (Young Girl in Blue Dress), c. 1941 |
|
Jardin de ferme, Charlevoix, c. 1941 |
|
Maisons de Charlevoix (Houses in Charlevoix), c. 1941 |
|
La lecture, c. 1942 |
|
A la plage, c. 1945 |
|
Fifty Drawings by Alfred Pellan, cover, c. 1945 |
|
Le comédien, cover for the program of Le soir des rois (Twelfth Night), c. 1946 |
|
Les mannequins (The Mannequins), c. 1946 |
|
La chouette (The Owl), c. 1954 |
|
L’affût (The Stalker), c. 1956 |
|
Et le soleil continue (And the Sun Shines On), c. 1959 |
|
Cosmos musical (Musical Cosmos), c. 1963 |
|
Les Prairies, c. 1963 |
|
Végétaux marins (Aquatic Plants), c. 1964 |
|
Vitrail de l'église Saint-Théophile, c. 1964 |
|
Expo 67, Images de l’homme (Man the Creator), c. 1967 poster
|
|
Mini-bestiaire Nº 22 (Mini-Bestiary Nº 22), c. 1971 |
|
Mini-bestiaire Nº 24 (Mini-Bestiary Nº 24), c. 1971 |
|
Folies-Bergère, c. 1974 |
|
Jeunesse, c. 1975 |
|
Bestiaire de la cheminée (Chimney Bestiary), c. 1980 |
|
Reine des Cieux ou Immaculée-conception (Queen of Heaven or Immaculate Conception), c. 1980 |
No comments:
Post a Comment