Goodridge Roberts, Bright Day, Georgian Bay, 1961. Royal Bank Financial Group's Corporate Art Collection |
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B.C. Binning, Atomic Foundation, 1950. Artists 4 Kids, Original Prints by Canada's Finest Contemporary Artists |  (detail) |
Frederick H. Varley, For What? Canada's Digital Collections |
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| George Elliot (1953): "Colour of course, is the first element to be sacrificed if painting is put in front of the television camera. Can you imagine a Goodridge Roberts landscape without Roberts' very private blues and greens? Binning's subtleties of colour are an important part of his charm. Varley's disturbing palette of piercing greens, blues, cold pinks and earth are essential to the uniqueness of Varley. [...] A painting needs an intellectual presence before it can work its magic. Placing anything between the viewer and the painting kills the viewer." Excerpts from: George Elliot, "A Warning to Artists," in Canadian Art, Spring 1953, p.10-6 (as reprinted in Video re/View, Peggy Gale and Lisa Steele, eds., Toronto: Art Metropole/VTape, 1996, p.20) | |
return to: sally mckay and lorna mills
"...on, not bad compression, but it's academic now because Stux has removed the murky black and white pic from its website. A new show of Stanczak work opens soon so I'm sure it was because of that. For bad jpegs of famous Canadian paintings, please see this post on Sally McKay's weblog, which she explains was inspired by a now somewhat quaint 1953 article by George Elliot warning that art should not be shown on television. " A painting needs an intellectual presence before it can work its magic. Pl..."
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