|My photo of a redwood tree|
|'Red Cedar' by Emily Carr|
Pearlman Collection: Cézanne and the Modern: Masterpieces of European Art (recently shown at the Ashmolean Museum in Oxford). Like Emily Carr, Cézanne loved to depict trees, but his were more Mediterranean. The collection included several watercolours, greens, greys and russets prominent on top of a graphite sketch, whereby he "juxtaposed colours instead of hatching to indicate volume and depth" (said Roger Fry). He was at home in Provence with views of the Mont Ste. Victoire and nearby bastides, the landscape that's described so well in the novels of Marcel Pagnol. I could imagine the ghost of Manon des Sources sitting on the red rocks in Cézanne's painting (pictured on the right) of the "cistern in the park"; the red-tinged water is a significant part of Pagnol's story! Picasso and Matisse immensely admired Cézanne and both apparently said that he was "the father to us all." Renoir and Degas had once fought over the possession of Cézanne's sensuous painting of Trois Poires (1888) which was also part of the exhibition.
|Outside the Art Gallery, Vancouver|
This wonderful collection of masterpieces comes from New York. Vancouver itself doesn't have so much to offer in the way of comparable European art, but what they could find, they put on display in an adjoining room: by Henri le Sidaner––St. Mark's Square at Dusk, Charles Camoin––a St. Tropez landscape, and Albert Lebourg––a painting of Rouen. I'd not heard of any of these artists, but I liked what I saw of their work.
It struck me that this is an art museum to rival the National Gallery in Ottawa, which has become rather tame, lately, and not so well attended or supported as it used to be.
|Qiu Shihua speaking of his art|
|Qiu Shihua's white canvasses|
|'Traces,' photographed from above|
|'Traces,' at floor level|
|In this room was a projection of animated screen paintings|