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Feb. 2016 Vol. 32, No. 4

Next Meeting ─ Prix Albert-Dumouchel pour la relève : finalists of this prestigious student competition present their prints

Date: Thursday, February 4, 2016 Time: 7:30 p.m. Place: Phoenix Hall, Unitarian Church of Montreal, 5035 de Maisonneuve Blvd. W., corner Claremont

We welcome Ann Karine Bourdeau Leduc, winner of the 2015 Prix Albert Dumouchel, and finalist Maxime Archambault, both of UQAM. They will discuss the creative paths leading to their success and the works they displayed in the group exhibition Première impression at Arprim last June alongside the six other candidates participating in the 26th edition of the Prix Albert-Dumouchel for Emerging Artists. The prestigious student competition “recognizes the excellence and bold experimentation of young artists enrolled in a pre-graduate university program in Quebec, in visual arts or other related program, and working in printmaking”. The jury, formed by Mathieu Jacques, Manuela Lalic and Étienne Tremblay-Tardif, awarded Ann Karine over $1000 and a production residence at the Engramme, centre de production en estampe printmaking studio in Québec City. ……/2

IN THIS ISSUE Dumouchel competitors offer newest in prints...................................pages 1 and 2 The party in pictures......................................................................................pages 2 to 5 Rollercoasters to dandies………..……………………………………………………….………pages 6 and 7 Printmaking courses on tap……………………………………………………………..….…page 8 The Fair months………………………………………………………………………………………..pages 9 and 10

Page 2 Also, a $200 cash prize was given by the Dumouchel family, a full year subscription to esse magazine and a copy of their publication l’Indécidable, a session with photographer Daniel Roussel to document artworks, and a membership and formation for artists offered by RAAV (Regroupement des artistes en arts visuels). Come out and support these young innovators and find out what’s on the cutting edge of printmaking! The presentations will be bilingual.   The church’s parking lot, with access north of the condo at the corner of Claremont Avenue, is open to us and can accommodate 15 cars. Otherwise, come early for neighbourhood parking. Vendôme Metro is across the street.

MPCS Holiday Party ─ December meeting report by H.S.B. MPCS members celebrated with conviviality, good prints and savory food at our annual Holiday Party. The Show & Tell provided a dozen fascinating glimpses into the private collections of those who made presentations. Heather Solomon-Bowden showed an Achille De Veria (1800-1857) hand-colored engraving purchased at the St. Lambert Antique Show. Research into the image of a fully dressed young woman coyly reclining on a bed revealed the artist to be a portraitist but also a purveyor of what was known as “libertine prints” with some blush-inducing content! Irwin Browns brought along a German Expressionist 1922 drypoint of a woman by Conrad Felixmüller (1897-1977) whose mentor was Otto Dix. Richard Bourhis presented an 1891 print by Martinet of angels dropping red balloons onto Paris that reminded him of the blood of recent attack victims ascending to heaven. A second engraving titled Transparence, 1928 by Jacques Maret (1901-1975) revealed what transpires behind the walls of Paris apartment buildings. Jane Cundy offered a selection of prints from Concordia University students she befriended while working as a teaching assistant in intaglio, as well as an intaglio photo etching of abstract objects by Professor Patrick Visentin. Marcel Poirier displayed an exchange monoprint he received from a Bulgarian printmaker as well as a wood engraving Chasseur et son chien. He also brought the stryrofoam plate used for one of his own ink monoprints and another he painted upon. Elizabeth Saccá showed a Liz Shalfin and discussed the non-toxic technique used to produce it, first in California and now in Massachusetts. Peso Taxi was made with water-soluble inks. Annette WolfsteinJoseph brought a Margarita Lypiridou woodcut made on the press that this artist purchased from Ghitta Caiserman-Roth. This is a printmaker who won the Prix Dumouchel a few years back. …/3

Page 3 Rochelle Mayer brought her own carborundum with monotype print, the technique for which she learned from Talleen Hacikyan at Atelier Circulaire. Jan Johnson showed us Giuseppe Maria Aritelli’s (1634-1718) Anno 1690 filled with figures tumbling in war-like positions over Europe, Asia, Africa and America and delivering subversive political messages to the viewer. Judith Klugerman displayed her own collagraphs including Gates VI created with drypoint, mezzotint, mesh cutouts and Dremel, inspired by a trip to Japan. She has not used acid in her printmaking process in two years. Brenda Lee brought along prints she cleverly made in a workshop on the subject of musicians and tango dancers and a girl sporting a hat with flowers. Miki Lane closed the evening with Cecil Buller’s Spring, 1929 showing Adam and Eve in the Garden of Eden. Miki reminded us to see the Montreal Museum of Fine Arts Beaver Hall exhibition in which Cecil’s younger sister Audrey posed for Randolph Hewton. …/4

Richard Bourhis in Show & Tell

Judith Klugerman

Rochelle Mayer

Annette Wolfstein-Joseph

Page 4

Irwin Browns

Miki Lane

Jan Johnson

Joe Donohue

Thanks go out to Joe Donohue for being the MC with the Most, Sheila Mackay for coordinating the gourmet potluck dinner, Richard Bourhis for running the Raffle and Doorprize tables, Marilynne Malkin and Miki Lane for set-up, wine transportation, and hosting, Heather SolomonBowden for lining up the Show & Tell, all the contributors of delicious dishes, and the donors of raffle prints and doorprizes, including Judy and Art Yelon, Evelyn Dufour, Marcelle Dufour, Jan Johnson, Judith Klugerman, Marcel Poirier, the Estate of Wendy Simon via Freda and Irwin Browns, Richard Bourhis, Rochelle Mayer, John A. Schweitzer, Miki Lane, Marilynne Malkin, and Heather Solomon-Bowden.

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Brenda Lee

Raffle table detail

««««««««««««««««««««««««»»»»»»»»»»»»»»»»»»»»»»»»» DEADLINE FOR THE MARCH ISSUE IS FEBRUARY 19, 2016.

«««««««««««««««««««««««««»»»»»»»»»»»»»»»»»»»»»»»»»

MPCS NEWSLETTER

Editor: Heather Solomon-Bowden Layout: Heather and Bob Bowden Technical Advisor: Bob Bowden Contributors : H.S.B., Mireille Janeau The MPCS Newsletter publishes 7 times a year in Oct., Nov., Dec./Jan., Feb., March, April and May. Editorial material and advertisements may be submitted in writing to Heather Solomon-Bowden, 159 rue de Verchères , Greenfield Park, (QC) J4V 2B2 or call 450-672-9788 or e-mail [email protected] (no attachments). Newsletter ads are $5 for members; $10 for non-members. Send ad payments directly to the Treasurer at MPCS, C.P. 324, Succ. NDG, Montréal, (QC) H4A 3P6. Subscription to the Newsletter is included in Society membership. Membership inquiries 450-672-9788 or. See our website at www.mpcsscem.com Copyright 2015-16.

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Conférence de Peggy Davis professeur en histoire de l’art à l’UQAM – 7 janvier 2016 ─ reportage par Mireille Janeau L’Estampe satirique et culture de l’imprimé à Paris sous la Restauration - Miroir déformant de la société d’après guerre : L’époque de la Restauration (1814-1830) brièvement interrompue par l’épisode des cent jours, succède à la Révolution (1789) puis à L’Empire (1804). Succédant à un temps de guerres et d’héroïsme militaire, le gouvernement de Louis XVIII offre une période de paix favorable aux mutations sociales, nouveaux loisirs et développements médiatiques. Grâce à l’avènement de la lithographie introduite en France en 1815 par le Comte de Lasterye, les caricaturistes vont disposer d’un médium à moindre coût, alliant immédiateté, diffusion rapide et à grande échelle pour illustrer sur un ton satirique les nouveaux types sociaux, leurs engouements et leurs travers. Fin 1816, avec la création des premières Montagnes russes à la barrière des Thermes, les Parisiens découvrent cet amusement fort apprécié à StPetersburg mais tout nouveau pour eux. Cela consistait Peggy Davis en une montagne de bois que l’on descendait sur des chars à roulettes. Son succès immédiat entraîne la prolifération de ces installations dans tous les quartiers de Paris. Les Montagnes russes deviennent des lieux de rencontre où la Bonne Société et les petits commis des commerces de variétés dits calicots s’y retrouvent en grand nombre voulant voir et être vu ce qui crée une certaine mixité sociale. Avides de plaisirs et sensations fortes les femmes y découvrent la griserie de la vitesse et une certaine liberté de comportement. Lieux favorables aux effets de mode les hommes et les femmes y rivalisent de nouveautés et d’extravagances. Étonnement c’est sur la coquetterie masculine que l’on constate les plus grands changements et les plus grandes attaques satiriques avec le façonnement identitaire du nouveau personnage émergent qu’est le «Calicot ». En effet, après le traumatisme de la défaite, le prestige du soldat persiste dans la société et déclenche dans la jeune génération frustrée d’héroïsme l’usurpation de cette considération par l’adoption des attributs de virilité de ces guerriers soit principalement la moustache et les éperons. Plus tard leur silhouette se féminise avec taille fine et pantalon bouffant tout en conservant leur virilité par un torse bombé et des épaules rembourrées jusqu'à l’outrance. Les caricaturistes inondent rapidement Paris d’estampes humoristiques illustrant les calicots sur fond de montagnes russes. Le paroxysme de cette vague sera atteint lors de « la guerre des calicots » déclenchée par la pièce « Le combat des Montagnes ou la Folie-Beaujon » écrite par Eugène Scribe et présentée le 12 juillet 1817 au Théâtre des Variétés. Le personnage ridiculisé de M.Calicot soulève l’ire des calicots qui déclenchent des émeutes pendant plusieurs jours au théâtre et autres lieux publics qui seront relayées abondamment sous forme de caricatures. …/7

Page 7 Si la vogue des montagnes russes et la guerre des calicots ne furent que des phénomènes éphémères, celui des estampes satiriques s’est à l’inverse répandu et affirmé. Les caricatures, produites rapidement grâce au procédé lithographique, étaient disponibles en grand nombre et à bas prix sur les lieux mêmes des événements ainsi que dans tout un réseau de nouvelles boutiques situé à proximité de celui du commerce du livre et de l’imprimé attirant des attroupements de curieux et de passionnés. Nous pouvons dire que non seulement le Calicot fut parmi les premiers sujets d’actualité à être traités et largement diffusés mais aussi contribua t-il à l’affirmation de l’estampe originale comme moyen d’expression, la dégageant ainsi de son rôle de reproduction des chefs-d’œuvre de l’art.

Miki, Jane, Marilynne, Rochelle, Nicole, Brenda, Richard, Mireille, Jan, Diane, Claude, Peggy

Page 8 Notes and News We wish a speedy recovery to Sheila Mackay who is healing her broken leg at home. Feb. 4, 11, 18 & 25: René Donais gives a course in sanguine soft-ground etching, inspired by his own collection of 18th-century sanguine prints. Mr. Donais elaborates, « Je présente les astuces techniques utilisées par ces graveurs, notamment la pratique du vernis mou, du lavis sur aquatinte et au sel, le tout combiné à l'utilisation des roulettes. » Thurs. 6 to 9 p.m. At Atelier Circulaire, 5445 ave de Gaspé # 517. 514-272-8874. [email protected] Atelier Graff is accepting registrations for workshops at 163 Rachel E., Montréal: - Feb. 20 & 21, 27 & 28 : Photolithography II from 10 a.m. to 5 p.m. - March 1, 8, 15, 22 : Printmaking basics on Tuesdays, from 6 to 9:45 p.m. will teach you intaglio and relief techniques, silkscreen and more without the use of a press or any toxic materials. - March 19 & 20 Two-colour silkscreen taught by Carlos Calado, Mathieu and Emmanuelle Jacques, Andrée-Anne Dupuis-Bourret and Levla Majeri, from 10 a.m. to 5 p.m. Call 514-526-9851 or e-mail [email protected]. or go to www.graff.ca/atelier . March 19 & 26: Zocalo printmaking atelier on the South Shore is offering workshops such as Etching for all levels with Laurence Prévost, , 9 a.m. to 4 p.m. At Zocalo, 80 Saint-Jean, Vieux-Longueuil. 450-679-5341 or go to www.zocaloweb.org Spring 2016 : Atelier Circulaire is currently taking registrations for classes in intaglio 1 and 2, lithography 1 and 2, screen printing 1, digital art and prepress 1 and 2. Call 514-272-8874, e-mail [email protected] or go to www.ateliercirculaire.org Have you attended a print exhibition lately? Write up to a page about it and submit, with jpeg images if possible, to Newsletter Editor Heather Solomon-Bowden at [email protected] . You’ll be published as part of the In Review section. Programmation 2015-2016 de la SCEM MPCS Programme 2015-2016 3 Mars March 3

Nouvelles orientations de l’estampe Inuit, par Mark London, de la Galerie Elca London Art Inuit (en anglais) New Directions in Inuit Prints with Mark London of Galerie Elca London Art Inuit (in English)

7 Avril April 7

J. J. Tissot: gravures de mode ou psychodrames? par Brenda Rix, du Musée des beauxarts de l’Ontario (en anglais) J.J. Tissot: Fashion plates or psychodramas? with Brenda Rix, Art Gallery of Ontario (in English)

5 Mai May 5

L’estampe dans le sillage de l’École caravagesque d’Utrecht au XVIIe siècle, par Docteure Sonia Del Re, du Musée des beaux-arts du Canada (en anglais) Prints after the 17th-century Utrecht Caravaggisti with Dr. Sonia Del Re, National Gallery of Canada (in English)

19 Mai

Souper annuel de la Société

May 19

Annual year-end dinner

Page 9 On Show Jan. 22 to 24: The 2016 Los Angeles Fine Print Fair offers its 30th edition, covering five centuries of prints including Japanese woodcuts, impressionist, modern and contemporary, displayed by 18 dealers. The Friday opening benefits Self Help Graphics that has been promoting and teaching printmaking in East L.A. for 40 years. Also scheduled are a walk-thru with LACMA/ Rifkind Center Curator Dr. Timothy Benson, a panel discussion on original prints and technique demos. In Bonhams Los Angeles Showroom, 7601 Sunset Blvd., West Hollywood. 415-377-7438. www.losangeles-fineprintfair.com Until Jan. 24: John Rea: Musique Vue is a multi-disciplinary exhibition curated by Élisabeth Dupond and Julianna Joos, presenting 22 artists including our own Judith Klugerman. Tues. and Wed. 1 to 7 p.m. Thurs. and Fri. 1 to 6 p.m. Sat. and Sun. 1 to 5 p.m. Closed Dec. 21 to Jan. 4 inclusively. At Maison de la culture des Côte-des-Neiges, vernissage Dec. 3, 5 to 7 p.m. 5290 Côte-des-Neiges. 514-872-6889. www.accesculture.com/ville.montreal.qc.ca/cdn-ndg Until Jan. 31 : In Antique Maps from the Holy Land to New France, David Chandler of Ptolomée Plus displays 56 maps printed between the late 16th and late 19th Centuries, selected from his collection of many thousands of maps from all over the world. These views, many with artistic embellishment, are of the Holy Land and surrounding areas and early North America, including Montréal. Mon. to Thurs. 10 a.m. to 10 p.m. Fri. to Sun. to 6 p.m. At the Community Art Space, Eleanor London Côte St-Luc Public Library, 5851 Cavendish Blvd., Côte St-Luc. 514-485-6966. www.csllibrary.org . Until Feb. 20: Works from the Collection comprises engravings and etchings by Federico Barocci, Stanley William Hayter and Érik Desmazières, printmakers from different eras linked by their medium. Tues. to Fri. noon to 6 p.m. Sat. noon to 5 p.m. or by appointment. At Battat Contemporary, 7245 Alexandra, #100, Montréal. 514-7509566. www.battatcontemporary.com

Until Feb. 20: La Relève des arts imprimés is organized by Atelier Circulaire with the support of Forum jeunesse de l’île de Montréal. On display is a variety of techniques by 10 emerging Montréal printmakers, namely Chloe

Angels Wrestling, 1950, by Stanley William Hayter (19011988) at Battat

…/10

Beaulac, Marie-Eve Beaulieu, Rosamunde Bordo, Xavier Charbonneau Gravel, Alexandre Fortin, Emma Harake, Jeanette Johns, Philippe Mainguy, Konstantinos Meramveliotakis and Maude Vien. Wed. to Sat. noon to 5 p.m. At Atelier Circulaire, 5445 de Gaspé, spaces 105 & 517, Montréal. 514-272-8874. www.ateliercirculaire.org

Page 10 Jan. 28 to March 26: New Prints 2016/Winter is the 53rd juried selection of new prints from a diverse jury-selected group of 52 artists and completed within the year gone by. An illustrated brochure with a curatorial essay by David Senior accompanies the exhibition. Jurors included Diana Burroughs (Director, Marlborough Graphics), Carl Fudge (Artist), Clare Garfield (Collector), Justin Sanz (Artist and Workshop Manager, EFA Robert Blackburn Printmaking Workshop), David Senior (Bibliographer, MoMA Library), and Marie Tennyson (Assistant Director of the LeRoy Neiman Center for Print Studies at Columbia University). International Print Center New York is a non-profit institution founded in 2000 to promote the greater appreciation and understanding of the fine art print. Tues. to Sat. 11 a.m. to 6 p.m. At the International Print Center New York gallery, 508 West 26th Street, 5th Floor, Chelsea, N.Y.C. 212-989-5090. www.ipcny.org Jan. 29 to 31: The 3rd Portland Fine Print Fair is the Northwest’s largest and most comprehensive print fair, featuring thousands of museum-quality engravings, etchings, lithographs, screenprints and woodcuts dating from 1500 to the present, from 18 participating galleries. Curator Dr. Mary Weaver Chapin has brought the fair to its current museum site. While you’re there, see the premier museum print collection in the Pacific Northwest at the Portland Art Museum’s Vivian and Gordon Gilkey Center for the Graphic Arts. Fri. print fair benefit preview supporting the museum’s graphic arts acquisition fund, 6 to 9 p.m. $40; $50 at the door. Other days, free. Sat. 10 a.m. to 6 p.m. Sun. 11 a.m. to 5 p.m. At the Portland Art Museum, 1219 SW Park Ave., Portland, OR. 503-226-2811. www.portlandartmuseum.org/printfair2016 Until Jan. 31: Printing Women: Three Centuries of Female Printmakers, 1570-1900 At the New York Public Library and Stokes Gallery New York. Until Feb. 13: Nevermore offers Péio Eliceiry’s current research on the nature of print through its materials, production and presentation. Etching, recycling and spray painting are among the artist’s methods in the creation of this installation. The artist has shown in Canada and Mexico, and holds a master’s degree in art from Université Laval. Wed. to Sat. noon to 5 p.m. At Arprim, Centre d’essai en art imprimé, 372 Ste-Catherine W., #426, Montréal. 514-525-2621. www.arprim.org Feb. 4 to 28: Hommage à Marcel Barbeau features paintings, prints and sculptures by the late artist who passed away January 2. Work from different stages of the artist’s career is represented. Barbeau was an Officer of the Order of Canada and of l’Ordre national du Québec and is represented in museums world-wide. The vernissage on Sun. Feb. 7 between 2 and 5:30 p.m. will be in the presence of the artist’s widow Ninon Gauthier. At La Galerie Jean-Claude-Bergeron, 150 St-Patrick, Ottawa. 613-562-7836. www.galeriejeanclaudebergeron.ca Until March 6: Prints of Darkness: The Art of Aquatint At the Minneapolis Institute of Fine Arts, Minneapolis, MN. April 2 and 3: Washington Capital Art Fair presents more than 20 dealers selling American, European and Japanese prints and drawings dating from 1600 to contemporary. At the Holiday Inn, Rosslyn Westpark Hotel, 1900 N. Fort Myer Drive, Arlington, Virginia (VA).

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Formulaire d’abonnement / Membership Form 2016 Libellez votre chèque au nom de : Société des collectionneurs d’estampes de Montréal. Postez-le avec ce formulaire à l’adresse suivante : Case postale 324, Succursale NDG Montréal QC H4A 3P6

Make your cheque payable to: Montreal Print Collectors’ Society and mail it with this form to: P.O. Box 324, Station NDG Montreal QC H4A 3P6

Renseignements personnels / Personal information Type d’abonnement / Type of membership Renouvellement / Renewal Nouveau  heque / New member Individuel 60 $ Couple 90 $ Étudiant 30 $ Nom(s) / Name(s) Abonnement au bulletin/Newsletter only 25$ Adresse / Address Ville, Province / City, Province

Code postal / Postal Code

Désirez-vous qu’on communique avec vous pour vous rappeler la prochaine conférence ou activité? Oui, par téléphone à la maison au bureau Oui, par courriel Non, ce n’est pas nécessaire Would you like to be reminded of upcoming events or lectures? Yes, by phone at home at work Yes, by e-mail No, it is not necessary Téléphone ( heque ce) / Telephone (home) Téléphone (travail) / Telephone (work) ( ) ( ) Télécopieur / Fax ( ) À l’usage de la direction seulement Année Méthode de paiement d’abonnement 2016 chèque comptant

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MPCS Newsletter February 2016.pdf

Judith Klugerman displayed her own collagraphs including Gates VI created with drypoint,. mezzotint, mesh cutouts and Dremel, inspired by a trip to Japan.

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