Vendu pour : $2,000

PROVENANCE
Estate of the Artist

BIBLIOGRAPHIE
Rosemarie L. Tovell, The Prints of Betty Goodwin, National Gallery of Canada, 2002, pages 11, 34, listed and reproduced on page 132

Please note: the full sheet size of this work is 25 1/2 x 19 1/2 inches.

Born in Montreal in 1923, Betty Goodwin worked for nearly 50 years in a variety of media – painting, drawing, collage, printmaking and sculpture. Often associated with themes of loss, absence and memory, her works are poignant and connect deeply with both the public and critics. In 1968, Goodwin attended Yves Gaucher’s etching class at Sir George Williams University (now Concordia University). This decision proved immensely significant for her career, as printmaking allowed her to reconnect to her artistic beginnings and brought her national and international recognition. In the words of art historian and curator Rosemarie L. Tovell, “over the last three decades, Goodwin has created one of the most significant and original bodies of prints produced by any Canadian artist.”

Similar to her earlier still life paintings, Goodwin focused on household objects for her printmaking practice, often running the actual object through the soft-ground plate to better capture its essence. Parcels were the first subject she worked on in 1969, and they held a personal significance for the artist. At the time, her son was living in Karachi, Pakistan, and parcels were the only physical link between them. In her entry dated October 8, 1970 in her notebook with a blue-taped spine, Goodwin wrote “I identify with the parcel – wrapped up and unknown.”

With Parceled Landscape, Goodwin experimented with the collage effect of labels, postal stickers and stamps. In the upper left quadrant of the print, there is a Canadian postage stamp with what looks like a mountain landscape.

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