Artwork by Gregory Richard Curnoe,  Lily Pond and Flower Garden (1985)

Greg Curnoe
Lily Pond and Flower Garden (1985)

pen and ink on paper
titled and dated “July 2-4 1985” lower right
17.5 x 23.5 ins ( 44.5 x 59.7 cms )

Auction Estimate: $3,000.00$2,000.00 - $3,000.00

Price Realized $2,065.00
Sale date: September 26th 2018

Provenance:
Thielsen Galleries, London
Private Collection
“Lily Pond and Flower Garden” exemplifies Curnoe’s devotion to process work and capturing moments and symbols of daily life. A simplified line drawing, this work deviates from the artist’s practice of utilizing Pop colour to highlight form. Here, the artist focuses on the simplicity of line to capture the intimate setting of a private garden space. The work remains true to the artist's practice of documenting moments and scenes of his daily life while maintaining a meditative calm outside of the Pop Art visual language the artist is also recognized for.

Share this item with your friends

Gregory Richard Curnoe
(1936 - 1992)

Born in London, Ontario in 1936, Greg Curnoe was a fervent regionalist visual artist and musician who championed the distinct voice of Canadian locales and London, Ontario, specifically. He attended Beal Technical School (1954-1956) and the Doon School of Art (1956) before attending the Ontario College of Art (1957-1960) then returned to London in 1960.

While still attending Beal Tech he became interested in Dada art and joined the Société Pour L’Etude Du Movement Dada since he himself became dedicated to attacking existing standards of the establishment bound by international styles of art. Taking the opposite pole, Curnoe freed himself from this concern by choosing his subjects immediately around him and rejoicing in a people’s art he encountered in everyday personal experiences.

One can find in his work the elements of constructivism, op art, pop art, dadaism and comic-strip-like marriage of words and pictures, a facet of art which has been his keen interest from his earliest years (his childhood ambition was to be a cartoonist). Curnoe’s work is drawn together by colours ranging from a brilliant carnival-like intensity to softer blends of browns, oranges, pinks, greens, etc.

In an article on Curnoe’s work in Saturday Night, Barry Hale in 1970 gave this description, “Curnoe’s paintings are as immediate in their impact as superlative, blown-up comic books; they are figurative, but not ‘realistic’ - the outlines (in general) are hard edged, there is no modelling, and large, brilliant colour areas collide and vibrate to achieve a hotly overwhelming whole. Like comics, they are printed all over the works, in various manners – words as labels, or self-contained statements like cartoon-balloons; they may surround the picture frame and lead off the right edge (like the narrative print of a cartoon strip), or simply exist in conjunction as a kind of concrete poetry – so , as well as their hot impact, Curnoe’s paintings have a McLuhanesque cool, they must be read, with all the self-involvement that reading implies.”

In addition to his painting, Curnoe was involved in many other fields, including nihilist politics, writing, film making, pop music and non music. In 1961 he began publishing the magazine “Region” with friends, as his commitment to regionalism intensified. They also opened the Region Gallery. He co-founded the Association for the Documentation of Neglected Aspects of Culture in Canada and co-founded the Canadian Artist’s Representation (a national association of Canadian artists growing in stature); the Nihilist Party of London, a good natured group of hecklers of establishment parties (all members with equal say, no leader). His work was first recognized by Ronald Bloore in 1961 when Bloore was a juror of a show and awarded Curnoe a prize.

Curnoe went on to represent Canada at the Venice Biennale in 1976 and had a retrospective at the Montreal Museum of Fine Arts in 1981, which then travelled across Canada. Though the artist’s work has influences of Abstract Expressionism, Pop Art and even musicality, Curnoe rooted his practice in the regional visual language of his native London and greater Canada. He is represented in the National Gallery of Canada, Vancouver Art Gallery, the Art Gallery of Ontario and the Montreal Museum of Fine Arts.

Sources: "A Dictionary of Canadian Artists, Volume I: A-F", compiled by Colin S. MacDonald, Canadian Paperbacks Publishing Ltd, Ottawa, 1977