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By Alexander, David; Wylie, Liz; Alexander, David
It may be effortless to contemplate panorama portray as cliche, an paintings shape whose time has handed. David Alexander's vivid, large-scale works exhibit the sweetness and hazard that stay undiminished in work of the traditional atmosphere and breathe new existence into the panorama culture. amassing jointly six essays on Alexander, this ebook presents perception into Alexander's thought, inventive force, and the original engagement with nature that has led him to find and paint distant locales throughout Canada and as distant as Greenland, Iceland, New Mexico, and Argentina. Award-winning author Sharon Butala contributes a longer meditation on her first come upon with the artist and his paintings. An interview with Robert Enright unearths Alexander's engagement with culture, and texts through the overdue Gilbert Bouchard, Ihor Holubizky, Aethalsteinn Ingolfsson, and Liz Wylie, current a number of insights into realizing and appreciating his paintings. an in depth chronology of Alexander's occupation is incorporated. Reproductions of his significant works look all through and the essays are illustrated with initial work and dealing sketches, conveying perception into his artistic procedure. A invaluable discovery for these attracted to nature and its inventive renderings, Alexander's paintings is ready conveying an immersion within the panorama. This publication permits the same presence inside his lushly painted landscapes, supplying an intimate realizing of his artwork
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The radical shift from the rugged and dangerous mountain landscape of British Columbia to the relatively spare, minimalist Saskatchewan landscape taught him to look all over again, and in looking, he saw the sky, and then he saw the water. Unlike Monet, he began to paint something deeper – his interpretation of the natural world, how it is alive and constantly in motion, no matter how still the day, how clear the light. He doesn’t paint scenic vistas, but enters the landscape and paints its immediacy.
Mystery and menace. ”6 So just where does Alexander fit into the continuity of landscape painting? As a young Canadian painter he had no choice but to think about the work of the Group of Seven and Tom Thomson. As a graduate student he studied Monet, and then later was excited by the work of David Milne, in particular, he says, about the possibilities of the use of line in painting. The radical shift from the rugged and dangerous mountain landscape of British Columbia to the relatively spare, minimalist Saskatchewan landscape taught him to look all over again, and in looking, he saw the sky, and then he saw the water.
15 Smith, Art as Infromation, 102. 41 pl ate 19 WORD/LAND, 1998, artist’s book, mixed media, 8 ϫ 30 in. S. 10 Does the word top? 12 Canada’s Music A L A N D O F W AT E R Gilbert Bouchard Canada has long seen itself as a land filled with hewers of trees and drawers of water – a strong, self-reliant, resource-oriented nation, sure of itself in the woods, both real and metaphorical. Following logically from this vision is the physical reality of our nation being filled with trees for hewing and water for drawing, as well as a matching symbolic reality of a forested and lake-rich homeland of the mind.
David Alexander : the shape of place by Alexander, David; Wylie, Liz; Alexander, David