Alex Colville



''I see life as inherently dangerous.
 I have an essentially dark view of the world and human affairs.''



David Alexander Colville, 
(24 August 1920 – 16 July 2013) 
was a Canadian painter.

Born in 1920 in Toronto, Ontario, Colville moved with his family at age seven to St. Catharines, and then to Amherst, Nova Scotia in 1929. He attended Mount Allison University from 1938 to 1942, graduating with a Bachelor of Fine Arts. 
He married Rhoda Wright in 1942 and enlisted in the Canadian Army in the infantry, eventually earning the rank of lieutenant. He painted in Yorkshire and took part in the Royal Canadian Navy's landings in southern France.  He was then attached to the 3rd Canadian Division. In the army for two years, and because he was a fine-arts student, he was made a war artist in May 1944.  His unit relieved the 82nd Airborne Division at Nijmegen, Netherlands in mid-September 1944 during Operation Market Garden and remained there until the following February.  He continued on to tours in the Netherlands and Germany, where he was also tasked with depicting the horrors of the Bergen-Belsen concentration camp. 



Colville returned to New Brunswick after the war and became a faculty member with the Fine Arts Department at Mount Allison University where he taught from 1946 to 1963. He left teaching to devote himself to painting and print-making full-time from a studio in his home on York Street; this building is now named Colville House.
In 1966, works by Colville along with those of Yves Gaucher and Sorel Etrog represented Canada at the Venice Biennale. 

In 1967, Colville was made an Officer of the Order of Canada, elevated to Companion in 1982, the order's highest level. He lived in St. Catharines, Ontario, for three years before moving to Nova Scotia. In 1973, he moved his family to his wife's hometown of Wolfville, where they lived in the house that her father built and in which she was born. The Colvilles had three sons, a daughter, and eight grandchildren. In contrast to many of his contemporaries, Colville aligned himself with the Progressive Conservative Party of Canada and was a card-carrying party member for many years.
Colville died on 16 July 2013 at his house in Wolfville at the age of 92 of a heart condition. His wife Rhoda Wright died on 29 December 2012. They are survived by three of their four children, Graham, Charles, and Ann. Their second son, John, died on 22 February 2012.

Colville exhibited extensively across Canada and internationally including at the Tate Gallery in London and the Beijing Exhibition Centre in Beijing. In 1983 an international touring retrospective of his work was organized by the Art Gallery of Ontario.
Alex Colville's work is found in many collections including the Art Gallery of Nova Scotia, the Cape Breton University Art Gallery in Sydney, Nova Scotia, the New Brunswick Museum, Saint John, the Museum of Modern Art in New York, the Musée National d'Art Moderne in Paris, the National Gallery of Canada in Ottawa, the Centre National d'Art et de Culture Georges Pompidou in Paris, the Wallraf-Richartz Museum in Cologne and the Kestnergesellschaft in Hanover, Germany.
Colville's work often displays commonplace moments from his own life — himself and his wife walking on a beach or himself standing with his car. But there is something sombre or even ominous about the images.

Paintings in high demand

Colville had been a pre-eminent figure on the Canadian art scene since the Second World War, when he was a war artist and chronicled the Canadian assault on Juno Beach in France.
  For two years he was given almost free rein to travel and paint Allied activities throughout Europe. He painted English training camps, the Canadian Navy landing at Toulon, and the 3rd Infantry in Belgium.
At the end of the war, he was one of three Canadian artists sent to paint images of the Bergen-Belsen concentration camp in Germany. The works he painted in this period include Bodies in a Grave, Belsen and Shattered Landscape, Cleve.
After the war, he spent six months in Ottawa with other war artists, finishing his work.
Colville's work became very popular in Germany, where he did an artist's residency in 1971. He once told CBC Radio that Germans know how bad things can (and did) get.
"Everything in my paintings that frightens Canadians seems to appeal to Germans," he said.

 Painstaking process

While Colville's images seemed to be taken directly from reality, he drew them from multiple sketches and studies, planning a perfect composition before he began to paint.
The painting process could take months — with layer upon layer of thinned paint painstakingly applied dot by dot to a primed wooden panel.
"Behind his words, as behind his art, you can sense elaborate webs of thought. And, also like his paintings, he stands quite alone, beyond category. It's impossible to speak with him for a few hours without feeling his powerful sense of self. He is, it seems, a free man." Robert Fulford wrote in Toronto Life in 2000. 
The tranquil scenes are deceptive, because something about the relationship between figures or the nature of the landscape will convey loneliness, isolation, parting, work, leisure, estrangement, love.

"I see life as inherently dangerous. I have an essentially dark view of the world and human affairs .. Anxiety is the normality of our age," Colville was quoted as saying.
Colville had a particular fondness for painting animals — there are dogs or horses in many of his paintings.
"I have a great rapport with animals," he once said. "I don't have a great rapport with people."
Colville's paintings are in high demand from private collectors around the world and have been throughout his career.
In 1966, he showed 12 paintings as Canada's representative at the Venice Biennale. Colville also designed a new set of coins celebrating Canada's 100th birthday in 1967.
His work can be found in gallery collections including the National Gallery of Canada in Ottawa, the Museum of Modern Art in New York, and the Centre National d'Art et de Culture Georges Pompidou in Paris. The Art Gallery of Hamilton owns the seminal work Horse and Train, often taken as an allegory for death.
The highest-price reached for a Colville painting at auction was set in 2010, when Man on Verandah, went for $1.1 million — $1,287,000 with the 17 per cent buyer's premium added.

Notable works

"To Prince Edward Island" 

This 1963 painting is perhaps his best-known work. It features a woman depicted looking through binoculars, in the direction of the artist.


 "Horse and Train" 
This 1954 work was inspired by two lines from the poet Roy Campbell:
Against a regiment I oppose a brain
And a dark horse against an armored train.

"Horse and Train" is a part of the Art Gallery of Hamilton's permanent collection; Dominion Foundries and Steel, Ltd. (Dofasco Inc) donated the painting in 1957. It appears on the cover of the album Night Vision by Bruce Cockburn. Alex Colville and "Horse and Train" are mentioned in the introduction (and in the story itself) of Nova Scotia fiction writer Barry Wood's short story Nowhere to Go published in England's Postscripts #14 in 2008.



 "The Circuit Rider" 

His mural in Tweedie Hall at Mount Allison University, known officially as "The History of Mount Allison" or "The Circuit Rider".

 Sketch for mural ''The History of Mount Allison''

 "Pacific" 

His 1967 painting "Pacific", showing a man leaning against an open door looking out to sea while a Browning Hi-Power pistol rests on a table in the foreground, inspired one of the definitive scenes in the 1995 film Heat with actor Robert De Niro. 



 "Man on verandah" 

Painted in 1953, its sale at auction for $1.287 million set a record for a work by a living Canadian artist. Part of the estate of the late G. Hamilton Southam (1918–2008), it was sold at an auction of Canadian post-war and contemporary art by Heffel Fine Art Auction House on November 25, 2010. Expected to get up to $600,000, the price inflated during a three-way bidding war between two Canadian phone bidders and a person at the auction. 


 "Infantry at Nijmegen" 

Trained as an infantry officer, he did a painting when World War II ended. Based upon numerous drawings, it was called "Infantry at Nijmegen" and is now in the Canadian War Museum.  It represents a platoon of Canadian soldiers spread out and marching along both sides of a road. Colville believed it conveyed his perception of war, as both heroism and enduring persistence among nature's elements and constant danger. The face of the first man is actually a portrait of the artist's father. 


 Works in other media 

In 1965, Colville was commissioned to design the images on the Canadian 1867-1967 centennial commemorative coin set. The set consists of the following designs: Rock dove on 1 cent coin, rabbit on 5 cent coin, mackerel on 10 cent coin, lynx on 25 cent coin, wolf on 50 cent coin and goose on the 1 dollar coin. 

On 22 March 2002 Canada Post issued 'Church and Horse, 1964, Alex Colville' in the Masterpieces of Canadian art series. The stamp was designed by Pierre-Yves Pelletier based on a painting "Church and Horse" (1964) by Alex Colville. The $1.25 stamps are perforated 13 X 13.5 and were printed by Ashton-Potter Limited. 
(...)

ΠΗΓΕΣ



ΣXETIKA












       Ε Ρ Γ Α        
































































































  Ennio Morricone:
''Once upon a time in the west''



 Benjamin Britten's: ''Death in Venice''
 by The English Chamber Orchestra. 
Directed by Tony Palmer.