Vendu pour : $3,125

PROVENANCE
Estate of the Artist

BIBLIOGRAPHIE
Rosemarie L. Tovell, The Prints of Betty Goodwin, National Gallery of Canada, 2002, page 11, listed page 147 and reproduced page 146

Please note: the full sheet size of this work is 15 3/4 x 18 3/4 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. Many of her series focused on different articles of clothing, as she was interested in their anthropomorphic qualities. Her Gloves series was one of her first soft-ground etching subjects, and depicts the same kind of gloves she would wear while making her prints.

There exists two variations of Profile of a Glove (Gloves No. 3), one with the fingers pointed down and the other with fingers pointing up. She also experimented with a different colour scheme for the three gloves (blue, red and black).

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