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[TD][h=2]La Fondation[/h]La Fondation Guido Molinari est ouverte du jeudi au dimanche de 13h à 17h et les jeudis jusqu’à 20h.

Entrée libre.

Elle résulte d’un geste généreux de l’artiste, destiné à valoriser et perpétuer son travail de création, en installant notamment, dans son dernier studio situé dans une ancienne banque du quartier Hochelaga- Maisonneuve, un centre d’exposition, de documentation, de conférence, de diffusion et de création, susceptible d’encourager aussi le cas échéant de jeunes artistes émergents….

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[TD][h=2]L’artiste et son œuvre[/h]Guido Molinari est né en 1933 à Montréal où il ne suit que quelques cours à l’École des beaux-arts et à l’École du Musée des beaux-arts, entre 1948 et 1951. En 1953, il présente sa première exposition particulière à L’Échourie et, trois ans plus tard, il expose aux États-Unis pour la première fois. Très tôt, cet autodidacte est considéré comme le maître de la peinture abstraite au Canada….

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[TD][h=2]Activités[/h][h=3]EN COURS[/h]Molinari en deux temps : Tableaux 1964- 1968 et oeuvres sur papier 1953-1957.

Notre exposition d’ouverture réunit deux corpus d’œuvres, séparés par une dizaine d’années. À première vue, on dirait de la musique de chambre, à l’étage, et de la musique symphonique, au rez-de-chaussée. Ou encore des créations de jeunesse à côté d’une production de maturité. C’est un peu vrai, encore que…

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[h=3]À VENIR[/h]La Fondation Guido Molinari travaille sur sa programmation annuelle.

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[h=3]PASSÉES[/h]La Fondation Guido Molinari a présenté Les années Moli de Marc Séguin en mai-juin 2013.

Une exposition réunissant des travaux réalisés entre 1996 et 1998, soit à l’époque où le jeune artiste travaillait dans un espace, rue Chapleau, mis à sa disposition par Molinari qui était son professeur, et un peu son complice.

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http://www.montrealgazette.com/travel/Molinari+masses/9284282/story.html

 

Molinari for the masses

 

 

 

Influential Quebec artist’s foundation opens to the public

 

 

 

BY JOHN POHL, SPECIAL TO THE GAZETTE DECEMBER 13, 2013

 

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These brush and ink drawings from 1955 — called 55/70, 55/67, 55/85, 55/84 — trace Guido Molinari’s progression from automatism to abstract expressionism and beyond.

 

Photograph by: Guy L’Heureux , SODRAC

 

 

MONTREAL — Guido Molinari was the precocious, largely self-taught painter who, at age 18, challenged the practices of the avant-garde Automatistes and later became the chief theoretician of the geometric abstraction that held sway in Quebec art during the 1960s.

 

Now the foundation he established before his death in 2004 at age 70 has opened to the public in the old bank building that Molinari used as his studio. Molinari Times Two: Paintings 1964-68 and Drawings 1953-57 is the foundation’s initial public exhibition.

 

Reserving the foundation’s second floor for drawings reflects how Molinari habitually included drawings in his painting exhibitions. One set of four brush-and-ink drawings from 1955 — 55/70, 55/67, 55/85, 55/84 — traces Molinari’s progression from automatism to abstract expressionism and beyond: blue gestural marks are joined by red and coalesce into loosely geometric abstract forms.

On the main floor are paintings from Molinari’s eight-year research into hard-edge abstraction, the style for which he is best known.

 

But Gilles Daigneault, executive director of the foundation, said Molinari always worked in phases, limiting himself to certain colours or forms until he had exhausted the possibilities.

Or until he decided that his experiments were a dead end. Molinari met Jackson Pollack in 1955, Daigneault said, and tried his method of dripping paint for two months.

 

Molinari was a sophisticated painter from an early age. Daigneault recounted how the young Molinari painted a vase of flowers for his mother to show she wasn’t wasting her money on his lessons. But even though the painting was figurative, he treated it in the modernist way that interested him, with the vase as flat as the canvas.

 

By the time he was 18, Molinari was hanging around with the Automatistes, the group led by Paul-Émile Borduas that tried to let their unconscious mind guide their hands.

“He wasn’t afraid of the Automatistes,” Daigneault said. “He told them, ‘You don’t do real automatism. You just start like that — you have to do the whole canvas.’ ”

Molinari then did a series of paintings while blindfolded, giving “the Automatistes lessons in their own theories,” he said.

 

Molinari’s paintings are displayed on the walls of three blocks, which serve both as movable walls and as storage for the largest of the foundation’s 500 paintings by Molinari. The blocks can be configured to suit future exhibitions, including one that will simulate a show at L’Actuelle, the gallery Molinari founded in 1955 with the support of Claude Tousignant and others.

 

In its two years, L’Actuelle held 20 exhibitions of non-figurative art and served as a gathering spot for the Plasticiens. These were the painters who, as Roald Nasgaard has written, rejected the spontaneity of the Automatistes in favour of hard-edged geometry.

 

Another show will compare Molinari’s abstraction with his contemporaries Franz Kline in the U.S. and Pierre Soulages in France. A third future exhibition will show work by what Daigneault called “the three enemies:” Molinari, Yves Gaucher and Tousignant.

 

“They didn’t speak to one another,” Daigneault said, but the widows of Gaucher and Molinari want to do the show with Tousignant.

Colour was as much a preoccupation for Molinari as forms and lines. He spent his life experimenting with the effect that a colour could have on the colour adjoining it.

“Young painters who come to the gallery say his colour combinations shouldn’t work together, but they do,” Daigneault said.

 

 

Molinari Times Two: Paintings 1964-68 and Drawings 1953-57continues to Jan. 16 at the Guido Molinari Foundation, 1290 Ste. Catherine St. E. For more information, visit fondationguidomolinari.org.

 

 

 

 

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