Ombre à la rosace
198.5 cms x 147 cms (78.15 ins x 57.87 ins)
Signed, dated and titled verso
Lot offered for sale by BYDealers, Montréal at the auction event "Post-War and Contemporary" held on Sun, Nov 10, 2019.
Lot 59
Lot 59
Estimate: CAD $25,000 - $35,000
Realised: CAD $30,000
Realised: CAD $30,000
Lot description - from the online catalogue*
Provenance:
Galerie Simon Blais, Montréal
Private collection, Montréal
Exhibitions:
Les Rosaces, Musée d'art contemporain de Montréal, Montréal (QC), commissariat de Réal Lussier, 16 nov. 2000 - 4 fév. 2001; Centre culturel canadien, Paris, France, 6 avril - 22 sept. 2001; Art Gallery, Fredericton, NB, 9 fév. - 13 avril 2003; Centre d'exposition d'Amos, Amos, QC, 20 fév. - 28 mars, 2004; Centre National d'Exposition à Jonquière, Jonquière, QC.
Literature:
ROY, Andréanne (commissaire). Marc Séguin : La foi du collectionneur, St-Jérôme, Musée d'art contemporain des Laurentides, et Montréal, Galerie Simon Blais,
2011. Work reproduced in colour on page 20.
LUSSIER, Réal. Marc Séguin : Les rosaces, Montréal, Musée d'art contemporain de Montréal, et Paris, Services culturels de l'Ambassade du Canada, 2000.
Notes:
Ombre à la rosace, and its counterpoint La coloration du vide, were both produced as part of the Rosaces series (2000) by artist and writer Marc Séguin. The latter painting features a grey-toned portrait of the artist standing against a black background. One arm is extended, the other is bent, and the hand points at the figure's temple as a mass of red and blue matter spurts from it. Small white dots are visible in the distance: the checkered glow of a rose window, much like the one tattooed on the artist's chest. Ombre à la rosace reinterprets this theme: a ghost-like, glowing-eyed figure, arm bent and pointing at its head, stands before a large rose window that illuminates the dark interior with red, blue, and white light. The figure's lower half extends, tone on tone, into the pure black background; the impasto adds a second narrative layer to the work. Provocative and transcendent, the painting brings together the sacred and the profane. As France Gascon writes, "Symbols from the history of art and painting are prevalent in Séguin's work. The rose window is a powerful example of this . It's interesting to note that the line between sophisticated art forms and other, less refined styles is also very thin: rose windows rendered in quick brushstrokes, squirts, and drips; the Middle Ages and Abstract Expressionism come together, curiously summoned for the same purpose in an ever-surprising partnership."
Galerie Simon Blais, Montréal
Private collection, Montréal
Exhibitions:
Les Rosaces, Musée d'art contemporain de Montréal, Montréal (QC), commissariat de Réal Lussier, 16 nov. 2000 - 4 fév. 2001; Centre culturel canadien, Paris, France, 6 avril - 22 sept. 2001; Art Gallery, Fredericton, NB, 9 fév. - 13 avril 2003; Centre d'exposition d'Amos, Amos, QC, 20 fév. - 28 mars, 2004; Centre National d'Exposition à Jonquière, Jonquière, QC.
Literature:
ROY, Andréanne (commissaire). Marc Séguin : La foi du collectionneur, St-Jérôme, Musée d'art contemporain des Laurentides, et Montréal, Galerie Simon Blais,
2011. Work reproduced in colour on page 20.
LUSSIER, Réal. Marc Séguin : Les rosaces, Montréal, Musée d'art contemporain de Montréal, et Paris, Services culturels de l'Ambassade du Canada, 2000.
Notes:
Ombre à la rosace, and its counterpoint La coloration du vide, were both produced as part of the Rosaces series (2000) by artist and writer Marc Séguin. The latter painting features a grey-toned portrait of the artist standing against a black background. One arm is extended, the other is bent, and the hand points at the figure's temple as a mass of red and blue matter spurts from it. Small white dots are visible in the distance: the checkered glow of a rose window, much like the one tattooed on the artist's chest. Ombre à la rosace reinterprets this theme: a ghost-like, glowing-eyed figure, arm bent and pointing at its head, stands before a large rose window that illuminates the dark interior with red, blue, and white light. The figure's lower half extends, tone on tone, into the pure black background; the impasto adds a second narrative layer to the work. Provocative and transcendent, the painting brings together the sacred and the profane. As France Gascon writes, "Symbols from the history of art and painting are prevalent in Séguin's work. The rose window is a powerful example of this . It's interesting to note that the line between sophisticated art forms and other, less refined styles is also very thin: rose windows rendered in quick brushstrokes, squirts, and drips; the Middle Ages and Abstract Expressionism come together, curiously summoned for the same purpose in an ever-surprising partnership."
Most realised prices include the Buyer's Premium of 18-25%, but not the HST/GST Tax.
(*) Text and/or Image might be subject matter of Copyright. Check with BYDealers auction house for permission to use.
(*) Text and/or Image might be subject matter of Copyright. Check with BYDealers auction house for permission to use.