ARCA BCSFA CGP OSA P11
1897 - 1960
Canadien
Through Shifting Sands
huile et Lucite 44 sur toile
signé et daté 1959 et au verso signé, titré, daté, inscrit « P x 1 Montreal » et étampé Cameron Gal. 63.1403 sur l’étiquette de prêt du Museum of Modern Art
48 3/4 x 58 1/2 po, 123.8 x 148.6 cm
Estimation : 20 000 $ - 30 000 $ CAD
Vendu pour : 58 250 $
Exposition à : Heffel Toronto – 13 avenue Hazelton
PROVENANCE
Dorothy Cameron Gallery, Toronto
Art canadien, Joyner, 22 mai 1998, lot 206
Galerie Kaspar, Toronto
Collection privée, Londres
Collection privée, Toronto
BIBLIOGRAPHIE
Dorothy Pfeiffer, « Painters Eleven », Montreal Gazette, 16 avril 1960, mentionné à la page 61
Kay Kritzwiser, « $4,500 Tag on One of Painter’s Last Works », The Globe and Mail, 20 juin 1964, page 19
Joyce Zemans, Jock MacDonald : The Inner Landscape, Art Gallery of Ontario, 1981, reproduit à la page 235 et répertorié à la page 287
EXPOSITION
Musée des beaux-arts de Montréal, Painters Eleven, 8 - 30 avril 1960
Art Gallery of Ontario, Toronto, Jock MacDonald : The Inner Landscape, du 4 avril au 17 mai 1981, en tournée à la Art Gallery of Windsor; la Edmonton Art Gallery; la Winnipeg Art Gallery ; et la Vancouver Art Gallery, 1981 - 1982, catalogue #141
This major work, produced at the very end of Jock MacDonald’s career, shows the exploratory vision of an artist at the height of his powers. A founding member of Painters 11 in the early 1950s, MacDonald had already spent decades investigating an increasingly personal approach to painting. As early as the 1930s, MacDonald explored symbolism and cosmic imagery, leading to his semi-abstract fantasias of the 1940s. By the end of the 1950s, he was creating dreamlike worlds such as this one, comprised of floating forms adrift in ethereal hazes of atmosphere.
While this work hung in the Musee des Beaux Arts de Montreal’s 1960 Painters 11 survey, it may also have been exhibited a few years afterwards. A label on verso notes the work as loaned to the Museum of Modern Art via Dorothy Cameron Gallery. An inventory number suggests a date of 1963, which overlaps closely with the years Cameron was known to be in possession of the work. While the city in question is not noted, Grace Morley, the inaugural director of the San Fransico Museum of Modern Art, was an admirer of MacDonald’s, having arranged a solo exhibition of his work in 1946. While the details of this theoretical 1963 exhibition are currently unknown, its possibility speaks to the international relevance of MacDonald’s important body of work.
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