Montreal - Art

Born to Sicilian parents in Tübingen, Germany, and raised in the culturally charged cities of Montreal and Sicily, Blandino studied art and design at local colleges in Montreal. He t...

Alfred Pellan, Canadian, 1906-1988 Folies-Bergères, 1974 Serigraph 20.75 x 16 in ( image ) 52.7 x 40.6 cm signed, titled, dated 1974 and numbered (edition of 150) in the lower margi...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix culture—as digital interventions onto works that contain the colonial gaze. These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race...

With a career spanning more than three decades, Robbie Cornelissen has established himself among the leading contemporary draughtsmen in Europe. His vast and irresolute creative univ...

A collision. A landslide. A tectonic shift and a tumbling of boulders reveal geological strata that have been hidden for centuries. Nicholas Crombach’s Landslip is a slow unfurling o...

Jean-Paul Riopelle 1923-2002 Où deux ours sont chassés 1985-1989 Lithograph 18 ½ x 25 ½ in 47 x 65 cm Inscriptions Signed in pencil “Riopelle” lower right and numbered “64/75” lower...

John Little, Canadian, b. 1928 Rue des Seigneurs, Montreal Oil on canvas panel 12 x 16 in Signed lower right ; signed and titled verso framed For our US customers: 1) The artwork i...

Hédy Gobaa combines photography and painting in his production. In 2018, he defended a doctoral thesis at UQAM where he questioned the role of digital devices in the artistical creat...

Normand Hudon, Canadian, 1929-1997 Ces messieurs du jury ne comprendront Lithograph 17 x 20 in Signed, titled and numbered in pencil framed For our US customers: 1) The artwork is ...

Stanley Cosgrove, 1911-2002, Canadian Oil on canvas 14 x 18 in Signed and dated '89 lower right framed Stanley Cosgrove Biography (1911 - 2002) Canadian Group of Painters, RCA Bor...

I am interested in how we collectively construct history through artifacts such as monuments and portrait bust. These devices are tools for constructing dominant historical narrativ...

King’s interpretation of nature’s struggle takes the shape of small-format oil paintings, which depict landscapes merged with vessels that work to destroy or protect the environment ...

Molly Lamb Bobak, Canadian, 1920 – 2014 Poppies Watercolour 17 x 24 in signed PROVENANCE: Galerie Walter Klinkhoff, Montreal framed For our US customers: 1...

Armand Tatossian, Canadian, 1948-2012 Winter, Quebec Oil on panel 10 x 12 in 25,5 x 30,5 cm Signed on the lower left: A. Tatossian framed For our US customers: 1) The artwork is sh...

Berthe Des Clayes 1877-1968 Canadian Untitled Pastel on paper 10 x 12 in signed framed For our US customers: 1) The artwork is shipped from Montreal, Canada; 2) Please note that t...

Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...

Born to Sicilian parents in Tübingen, Germany, and raised in the culturally charged cities of Montreal and Sicily, Blandino studied art and design at local colleges in Montreal. He t...

“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working with graphite and charcoal, Robbie Cornelissen’s limited palette emphasises the stark sombre nature of his metaphysical drawings, The Undertow is his sixth solo exhibition at Art Mûr. At the centre of the exhibition hovers Terra Nova, a dark and desolate world parallel to our own. Robbie Cornelissen’s drawings, such as The Space of Absence and Thriller, seem to pull from the stop motion’s frames. Other images, made especially for The Undertow isolate key fragments; the cloud, mounds and timeless dwellings, Cornelissen’s signature technical interest. In addition to his methodical approach, Cornelissen uses the written word, scrawling and erasing terms repeatedly, in English, French, and German, these fastidious markings and exact translations leave a trace and a glitch on paper and screen. Much of his existing work includes words and phrases like “tribunal,” “myself when I am real” and “the need to disappear.” Do they identify what forms, systems and sentiments that are, or could be present? Or do they warn of what is to come? Suspended in the atmosphere of a planetary body, Cornelissen’s clouds extend down to the surface, looming over Earth and Terra Nova. But are they harmless clouds, or associated with nuclear explosions? And is that the ash, dust, pollution and detritus of these invented places, the remnants of an unsustainable society, a dream factory? Or the promise of life anew? In weather forecasting, or aeromancy, the presence of clouds can promise darkness and gloom, but they can also bring cleansing. The ominous aura of the grid, an applied system and structure used by many, including draughtsmen, architects, urban planners, designers and artists to organise and sometimes classify information, is a recurring element in his work. The grid can be observed from a distant bird’s eye view, or close up, allowing Cornelissen’s large format drawings...

Oli Sorenson’s solo exhibition, «Après moi, le déluge » discloses a series of impactful works on the deadly perils of capitalism through a group of paintings, prints, watercolours, a...

Title: Day Dream Original Large Acrylic Painting Medium: Acrylic Support: Stretched Canvas, Staple-free edges, Ready to Hang Size : 40?x 30?x 1.1/2? ( 101.6 cm x 76.2 cm x 3.81 c...

Leo Ayotte, Canadian, 1909-1977 Oil on canvas panel 8 x 10 in Signed lower right; framed For our US customers: 1) The artwork is shipped from Montreal, Canada; 2) Please note that...

Meat is not what it used to be. Both chemically (through the over-abundant use of hormones and antibiotics in the raising of livestock,) and conceptually, it has morphed under the ba...

With a career spanning more than three decades, Robbie Cornelissen has established himself among the leading contemporary draughtsmen in Europe. His vast and irresolute creative universe demonstrates the complexity of a world dealing with new spatial concepts. Every corner of the planet may have been explored, but digital technologies have opened up an endless universe to discover, a virtual labyrinth without an exit in which one can easily get lost. His drawings often serve vertiginous perspectives out of which emerge distressing voids that refer more to metaphorical states of mind than physical spaces. Cornelissen’s works offer an exploration of these fields and are therefore often viewed as places of anxiety. They could easily be interpreted as portraits of a technophobic mind, alarmed by the speeds and heights of our advanced neoliberal societies. But for some, the volatility of these spaces is also incredibly exciting – liberating even. Cornelissen represents a world in which things are freed from the pragmatism of their usage to exist simply for the interest of their geometry. This is particularly true of architecture, the prime subject of his artistic research. In many ways, Cornelissen’s technique is very classical. His expertise of linear perspective takes root in the heritage of Quattrocento Masters of the likes of Pietro Perugino...

Leo Ayotte, Canadian, 1909-1977 Oil on canvas panel 8 x 10 in Signed lower right; framed For our US customers: 1) The artwork is shipped from Montreal, Canada; 2) Please note that...

For her first solo exhibition at Art Mûr, Nova Scotia-based emerging artist Jazz Keillor presents Landscape(d), a body of work which evokes as well as subverts the visual language of...

It is the luminous colours of Michel Piquette’s works that first catch the eye. His chromatic circles that stir up vision take root in an aesthetic tr...

Guillaume Lachapelle’s work combines the real and the imaginary to create miniature environments and scenarios that showcase connections between humans and their everyday worlds. In ...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

Albert Rousseau, Canadian, 1908 - 1982 Untitled Oil on canvas 12 x 16 in Signed lower right Framed For our US customers: 1) The artwork is shipped from Montreal, Canada; 2) Please ...

Rita Letendre, Canadian, 1928-2021 Asor, 1979 Serigraph 15 x 20.75 in. signed, titled, dated and numbered along bottom framed For our US customers: 1) The artwork is shipped from Mo...

Alfred Pellan, Canadian, 1906-1988 Polychromée - C, 1973 silkscreen 35 x 23 in ( sheet ) 88.9 x 58.4 cm Inscriptions signed, titled, dated 1973 and numbered (ed of 100) in the lower ...

Guido Molinari, Canadian, 1933-2004 Noir ascendant, 1956 Serigraph 30 x 24 in 76,3 x 61 cm Signed and dated in pen “Molinari 1956-67” lower right unframed For our US customers: 1...

Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful universes which combine objects of undetermined purpose; in this way, he opens the conventions of our reality to fresh disposition. The architecture of his models - which Lachapelle has recently begun to make with the help of the latest 3-D printing technology - shows motifs originating from the everyday, certainly, but seeming strange, alienating or even uncanny when combined as the artist chooses. A kind of transition between two worlds often appears in Lachapelle's work - for example when the model of a library filled with books curves inwards and reveals a mysterious opening pointing into darkness - these are the artist's references to spaces and occurrences which may be concealed below the surface of outward semblance. Guillaume Lachapelle has participated in several solo and group exhibitions including Manèges at Circa - Centre d'Exposition Art Contemporain (Montreal) in 2006; Quebec Gold at the Ancien Collège des Jésuites (Rheims, France) in 2008 and in Abracadabra (Edward Day...

Titled after an episode of Star Trek, The Paradise Syndrome features new work by Sonny Assu. Combining Indigenous content with appropriated images and text from marine chart maps, covers from Choose Your Own Adventure gamebooks, and science fiction television programs, this exhibition continues Assu’s exploration around the intersection of Indigenous Peoples and North American pop culture. In the Star Trek episode The Paradise Syndrome, Captain Kirk suffers from amnesia when he arrives on an alien planet, which is inhabited by a society of people who resemble Indigenous Peoples in North America. Kirk is found by a group of women who believe that he is a god and then take him back to their community. At the end of the episode, he is attacked when they realize he is not a god. Spock and McCoy are transported to his rescue, but in the midst of the conflict, a tribal priestess who Kirk developed a relationship with, is killed. In this exhibition, Assu presents two series of digitally altered prints inspired by fact and fiction. The first series depicts ovoids superimposed onto digital scans of paintings by Emily Carr and A.Y. Jackson, framed by gamebook covers. The prints feature alien forms descending, referencing a Star Trek: Voyager episode titled Tattoo. In this episode, Chakotay meets the Sky Spirits, aliens who visited Earth thousands of years ago. They met nomadic humans who had great respect for the land and other animals. The Sky Spirits were so impressed that they gifted the nomads with an inheritance that would allow them to thrive and protect their world. When the Sky Spirits returned thousands of years later, they found that the weapons and diseases of invaders from other lands had decimated the nomadic ‘Inheritors’. Chakotay’s tattoo was the mark of an Inheritor and signaled to the Sky Spirits that some of the Inheritors had survived. Assu’s gamebook prints expand on this fictional story, incorporating aspects of our colonial history in the Pacific Northwest. This exhibition is a playful investigation of challenging issues. By incorporating nostalgic gamebooks from the 1980s, Assu alludes to the discovery of his Kwawaka’wakw heritage, which has recently led him back to living in his ancestral land. The second series of Assu’s prints in this exhibition depict digital illustrations, inspired by Indigenous copper shield symbols, that are superimposed onto navigational marine maps...

In the digital age, we collectively photograph everything all of the time. But how much does anyone remember from a scene or a moment when looking at a digital photo? Someone could g...

Jessica Houston has traveled from pole to pole—using photography, painting, oral histories and objects—to evoke natureculture entanglements. Her multimedia projects often include sit...

Franklin Arbuckle, Canadian, 1909 - 2001 Near Saint-Jovite, Quebec, 1981 Oil on canvas panel 12 x 16 in 30.5 x 40.6 cm signed lower right; signed, titled verso framed For our US customers: 1) The artwork is shipped from Montreal, Canada; 2) Please note that the Canadian artwork is duty free under the current USMCA (NAFTA) agreement; 3) We can ship via USPS which should be zero import and clearance fees for the receiver; Franklin Arbuckle Biography (1909 - 2001) RCA Arbuckle studied at the Ontario College of Art under J.W. Beatty and J.E.H. MacDonald. He attended summer classes at Franz Johnston's Georgian Bay art...

Molly Lamb Bobak, Canadian, 1920 – 2014 Flowers of the Field Watercolour 22 x 15 in signed framed Molly Bobak Biography (1922 - 2014) RCA It could be said that Molly Lamb Bobak was destined to be an artist. She was born on Lulu Island, near Vancouver, British Columbia, on February 25, 1920. She grew up in a bohemian enclave. Her father, Harold Mortimer Lamb, was a photographer and art critic. In 1926, her father opened a commercial art gallery in Vancouver, exhibiting painters, sculptors, and photographers. In 1938, Bobak attended art school at the Vancouver School of Art and studied under Jack Shadbolt, where she learned to improve her drawing and composition skills. While working at the Yellow Point Lodge during the summer of 1940, Lamb kept a diary filled with text and caricatures and drew everyone that she encountered. Bobak joined the Canadian Women’s Army Corps in 1942. While serving, she found endless material to paint and included these paintings in her personal journal, which was later published and titled “W110278: The Personal War Records of Private Lamb, M”, which included 147 folios and fifty single sheet sketches. After being stationed in Alberta and Quebec, the military recognized her artistic abilities and invited her to attend a drafting course in Toronto. After finishing the course, Lamb tried to become an official war artist. In 1942, Lamb was sent to Ottawa where she drew at the Trades Training offices where she designed posters and Christmas cards. Three of Bobak’s drawings were purchased by the Art Gallery of Ontario in the same year. In 1944, “Meal Parade, Hamilton Trades School” (n.d) tied for second prize at the National Gallery’s Canadian Army Art Show, which helped her receive the appointment as a war artist––the only woman who earned this designation. As women were not allowed on the active war front, Bobak was transferred to London, England, six weeks after Victory Day to document the aftermath of the war. After leaving the military, Bobak settled with her husband Bruno, in Vancouver. After the move, Bobak had little time to paint as she was teaching night courses at the Vancouver School of Art and tending to her children. After earning a French scholarship in 1950, Bobak, her husband, and their two children traveled to Paris where she experienced the works of modernist painters like Cézanne and Matisse. Cézanne’s work in particular influenced Bobak’s art, which can be seen in the geometric organization of “A Bakership, Saint-Léonard” (1951) and “The Saint Ives Train...

As a kid, comic books were a form of entertainment and escape. The ideal of future monetary value in these objects was far from my kid mind. I'd crease the pages, handle the covers w...

When does a line on a page become figurative? The series of drawings by Mexican artist Renato Garza Cervera entitled Mareas Humanas (Conflictos II) / Human Tides (Conflicts II) satis...

My work emerges from research on memory and the remembrance of landscape, where vaporous atmospheres of evanescent recollections are illustrated. My work thus, contains ghostly and e...

Armand Tatossian, Canadian, 1948-2012 Flowers Oil on canvas 24 x 30 in Signed on the lower right Signed on the reverse framed (float mount) For our US customers: 1) The artwork is...

"I am an experimental painter. I have been working on my craft since 1996. I start work with a conceptual point of entry and then work intuitively, in dialogue with the work. The art...

Born in 1974 in Todi, Italy, Roberto Bernardi began painting at a very young age, with his first oil paintings dating back to the early 1980’s. His obsession with detail and traditio...

Born in 1974 in Todi, Italy, Roberto Bernardi began painting at a very young age, with his first oil paintings dating back to the early 1980’s. His obsession with detail and traditio...

Armand Tatossian, Canadian, 1948-2012 Winter Oil on board 10 x 12 in Signed on the lower right framed For our US customers: 1) The artwork is shipped from Montreal, Canada; 2) Ple...

Alfred Pellan, Canadian, 1906-1988 Chats et poissons, 1968 Serigraph 20 x 16 in (image) signed, titled, dated 1968 and numbered (edition of 100) in the lower margin blind stamp from ...

"I am an experimental painter. I have been working on my craft since 1996. I start work with a conceptual point of entry and then work intuitively, in dialogue with the work. The art...

I am interested in how we collectively construct history through artifacts such as monuments and portrait bust. These devices are tools for constructing dominant historical narrative...

This exhibition highlights Adam Gunn’s latest work, consisting of oil paintings on wood panels. This recent body of work was inspired by three coinciding events in the artist’s life: his return to his home province of Lunenburg, Nova Scotia, at the height of the Covid pandemic, obtaining his driver’s license, and his introduction to plein air painting by local artists. The artist traveled through his home province, painting on-site to capture the natural beauty and illustrate the diversity of Nova Scotia’s landscape (Project made possible through a grant from Arts Nova Scotia). Adam Gunn is an artist (primarily a painter) currently based in Nova Scotia Canada. He has accumulated a BFA from NSCAD University in Halifax and an MFA from Concordia University in Montreal. He’s been the recipient of the Nancy Petry Foundation award, a two-timer semi-finalist in the RBC Canadian Painting...

This exhibition highlights Adam Gunn’s latest work, consisting of oil paintings on wood panels. This recent body of work was inspired by three coinciding events in the artist’s life:...

My paintings are mostly born from my encounter with nature and the ocean. Involuntarily, all brushstrokes and use of color contain parts of my vivid memories and past experiences. Th...

Clarence Gagnon, Canadian, 1881-1942 Les Jardins du Luxembourg, 1906 Etching 5 1/2 x 4 in Signed and dated on the lower right: Clarence Gagnon ’06 For our US customers: 1) The artw...

Through photography, Michel Piquette creates captures of time, animated by a paradoxical quest for an image preceding any technique. By weaving together aspects of geometry and abstr...

A collision. A landslide. A tectonic shift and a tumbling of boulders reveal geological strata that have been hidden for centuries. Nicholas Crombach’s Landslip is a slow unfurling o...

For the exhibition Panorama of the Anthropocene, Oli Sorenson presents an array of works created in a hybrid style that evokes the square layout of Instagram, the pixelated landscapes of Minecraft and the geometric paintings of Peter Halley. While Halley's paintings refer to philosopher Michel...

For the exhibition Panorama of the Anthropocene, Oli Sorenson presents an array of works created in a hybrid style that evokes the square layout of Instag...

For the exhibition Panorama of the Anthropocene, Oli Sorenson presents an array of works created in a hybrid style that evokes the square layout of Instag...

By Sophie Lynch In Hyperobjects, Nova Scotia-based artist Colleen Wolstenholme presents works that developed from her earlier drawings of brain cell patterns and her interest in t...

Born in Turks and Caicos, Bradley Theodore is a contemporary artist who started his career in New York City and has been an internationally-inclined artist and collaborator from his ...