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Jacques Godefroy De Tonnancour

Canada (1917 -  2004 )
de TONNANCOUR Jacques Godefroy Paysage

Waddington's
May 25, 2015
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Along with Jacques Godefroy De Tonnancour, our clients also searched for the following authors:
Jack Leonard Shadbolt, Frédéric Bourchier Taylor, William Hadd Mcelcheran, Jean Albert Mcewen, Alan Caswell Collier, Arthur Lismer, Herbert Sidney Palmer
Artworks in Arcadja
45

Some works of Jacques Godefroy De Tonnancour

Extracted between 45 works in the catalog of Arcadja
Jacques Godefroy De Tonnancour - Paysage

Jacques Godefroy De Tonnancour - Paysage

Original 1958
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Lot number: 49
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Description:
Lot 49 JACQUES GODEFROY DE TONNANCOUR, A.R.C.A. PAYSAGE oil on masonite signed and dated \‘58 18 ins x 24 ins; 45.7 cms x 61 cms Provenance: Private Collection, Toronto Literature: Ray Ellenwood, Egregore: A history of the Montreal Automatist Movement, Exile Editions Ltd., Toronto, 1992, page 120. Unimpressed with his time studying at the École des Beaux Arts in Montreal, Jacques de Tonnancour (1917-2005) denounced academia and left the institution after two years. He held his first solo exhibition at Montreal\’s Dominion Gallery, and with a government bursary, left for Rio de Janeiro, Brazil in 1945, a city that was to have a lasting impression on his aesthetic style. Once back in Montreal in 1948, he was hired at the very same school he had previously decried, yet this time a little older, wiser and a teacher rather than a student. It was here that he became better acquainted with the surrealist avant-gardist, Alfred Pellan, who was also working at the École des Beaux Arts, and together they would co-author Prisme d\’yeux, a manifesto standing in opposition to Borduas and the Automatistes. The Prisme d\’yeux manifesto was a reaction to what Pelland and de Tonnancour perceived as the increasing \“sectarianism\” and the narrow definition of avant-garde under Borduas and the Automatistes. Instead they sought a painting \“free from all contingencies of time and place or from restrictive ideologies, conceived apart from any literary, political, philosophical or other interferences which might adulterate its expression and comprise its purity\”. A somewhat idealist movement that only lasted the duration of two exhibitions, Prisme d\’yeux favoured the fundamental principles of painting, effectively calling for the separation of art and politics. After this period of radicalism, de Tonnancour painted sparingly from 1950-1955, returning to the medium and his old landscape subject matter after an inspirational trip to the Laurentians, northern Ontario and Vancouver. Paysage is a ready example from de Tonnancour\’s return to painting and an early demonstration of his shift towards further simplification of form.
Jacques Godefroy De Tonnancour - Paysage

Jacques Godefroy De Tonnancour - Paysage

Original 1959
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Lot number: 74
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Description:
JACQUES GODEFROY DE TONNANCOUR, A.R.C.A.
PAYSAGE, 1959
oil on masonite
signed and dated \‘59
24 ins x 32 ins; 61 cms x 81.3 cms
Provenance:
Private Collection, Toronto
Literature:
Jacques de Tonnancour in Elizabeth Kilbourn,
Great Canadian Painting: A Century of Art
, McClelland and Stewart Limited, 1966, page 45.
Note:
For Jacques de Tonnancour, 1955 signaled a genre shift from the abstract to the landscape. His primary focus was on the terrain of northern Quebec, which held a certain power in his eyes. \“The magnetic and engulfing charm and power of the north can in no time dissolve a man and lose him in a sea of silence and desolation. In many parts of Canada that is what we are up against, that enormous silence. This is the shape of Quebec.\” Through loose gestures, swift strokes of paint and thin washes, de Tonnancour conveys the
pensanteur
or weight of the land. Under an effortless sky, tangles of branches and currents of energy twist about in greens and sienna. In de Tonnancour\’\’s painting, one relinquishes the notion of controlled landscape and surrenders oneself to the dangers of the wilderness.
Jacques Godefroy De Tonnancour - La Butte

Jacques Godefroy De Tonnancour - La Butte

Original 1958
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Lot number: 63
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ARCA CAS CGP PY QMG 1917 - 2005 Canadian
La butte
oil on board
signed and dated 1958
24 x 32 in 61 x 81.3cm
Provenance:
Galerie Denyse Delrue, Quebec
Galerie Walter Klinkhoff Inc., Montreal
Private Collection, Montreal
Private Collection, Toronto
Literature:
M. Ebbitt Cutler, "Jacques de Tonnancour," Canadian Art, January / February 1965, page 37
Exhibited:
The Elsie Perrin Williams Memorial Art Museum, London, Ontario
Jacques Godefroy De Tonnancour - �chos Et Vestiges De L'�ge De Bronze #9

Jacques Godefroy De Tonnancour - �chos Et Vestiges De L'�ge De Bronze #9

Original 1974
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Lot number: 134
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Jacques Godefroy de Tonnancour
ARCA CAS CGP PY QMG 1917 - 2005 Canadian
�chos et vestiges de l'�ge de bronze #9
mixed media on board
on verso signed, titled on the gallery label and dated 1974
19 7/8 x 19 3/4 in 50.5 x 50.2cm
Provenance:
Marlborough Godard Gallery, Montreal
Private Collection, Montreal
Jacques Godefroy De Tonnancour - Black Spruce Country

Jacques Godefroy De Tonnancour - Black Spruce Country

Original 1957
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Lot number: 84
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Description:
LOT 84
JACQUES GODEFROY DE TONNANCOUR
1917 - 2005
BLACK SPRUCE COUNTRY
1957
signed and dated lower right de Tonnancour '57; titled on agallery label and titled and dated in French on an unidentifiedgallery label on the reverse
oil on board
30,000—50,000 CAD
measurements
measurements
121.3 by 162.7 cm.
alternate measurements
47 ¾ by 64 in.
signed and dated lower right de Tonnancour '57; titled on agallery label and titled and dated in French on an unidentifiedgallery label on the reverse
Laing Galleries, Toronto Private Collection, Ontario
XXIX Biennale Internazionale d'Arte di Venezia, 1958, no. 70
Instead of following his contemporary colleagues, Riopelle,Borduas, and Ferron, in their use of the palette knife, deTonnancour used a squeegee, a tool seldom, if ever, found in thestudio, to lay in the backgrounds of his landscapes. Against thisground he flicked on the spruces and pines of the Laurentian hillsand created enchanting works that were, in their way, as symbolicof Canada as the Group of Seven's earlier poetic renderings of theNorth. De Tonnancour was chosen to represent Canada at the VeniceBiennale in 1958, and this particular painting was was praised andadmired there. It is one of the largest de Tonnancour's ever madein this style. Its apparently easy execution, its airy distributionof spaces, the sharp, clear light, and the illusion of depth thathe has borrowed from conventional landscape painting, allcontribute to give this picture the freshness and power that itobviously still has half a century after its creation.
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