Veuillez noter que nos bureaux seront fermés du vendredi 29 mars au lundi 1er avril pour Pâques. Les cueillettes locales reprendront le mardi 2 avril.
DÉTAILS DU LOT
Cette séance est fermée aux enchères.
Historique des enchères
# de palette Date Prix

Il n’y a présentement aucune enchère pour ce lot
La liste de l'historique des enchères a été mise à jour le: mardi, 19 mars 2024 | 02h 58m 00s

LOT 413

1933 - 2013
Canadien

Dad's Target
huile sur panneau
signé et daté 1960 et au verso signé, titré, daté et inscrit « In Edmonton JR League Rental Show '60-'61 Only » / « Returned '61 » et diversement
36 x 48 po, 91.4 x 121.9 cm

Estimation : 6 000 $ - 8 000 $ CAD

Exposition à : Heffel Toronto – 13 avenue Hazelton

PROVENANCE
Acquis directement auprès de l’artiste par la collection privée actuelle, Toronto

BIBLIOGRAPHIE
Dennis Burton, Dennis Burton: Retrospective, The Robert McLaughlin Gallery, 1977, page 17


Shortly before producing the “Gartermania” paintings that would define the core of his production in the mid-1960s, Burton would see success with a self-conscious turn to abstract painting. He was greatly inspired by the 1955 Painters Eleven show at Hart House, University of Toronto, as well as by the mentorship provided to him by Jock Macdonald while studying at the Ontario College of Art. This was followed by first hand exposure to the American Abstract Expressionists through visits to New York and the Albright-Knox Gallery in Buffalo. This lead to the development of his own language of abstraction, taking cues in particular from the works of William Ronald, Willem de Kooning, and Jack Twarkov. Burton worked out the pictorial issues of abstraction through specific figurative reference - particularly in response to his family, his upbringing, and (most notoriously) the eroticized body.

Late in 1957, Burton’s father died. This inspired him to develop his practice with a new fervour: “His dying affected me dramatically; I came back to Toronto driving his old Studebaker and vowed that I was going to ‘make it’ in honour of my father.” Dad’s Target could be a reference to his father’s interest in mechanical things: he had an interest in the complexities of automobiles or musical instruments, and would frequently be found tinkering in his home workshop. This interest in the complexities of construction resonate clearly here. The work is dominated by a yellow field, washed over an abstracted ground. The almost calligraphic perforations through the yellow expose the roiling gestural strokes underneath, at once concealing and doubling them. A central blue mark punctuates the center of the work, as if to nail the two layers together. Through this layered construction, Burton demonstrates an interest in the interplay and methods of concealment and revelation that he would explore more explicitly with his later works, and marks Dad’s Target as an important example of Burton’s position as a distinct voice in Canadian abstraction.


Tous les prix affichés sont en dollars canadiens.


Bien que nous ayons pris soin d’assurer l’exactitude de l’information publiée, des erreurs ou omissions peuvent se produire. Toute enchère est soumise à nos modalités et conditions de vente. Les enchérisseurs doivent s’assurer qu’ils sont satisfaits de la condition du lot avant d’enchérir. Les rapports de condition sont disponibles sur demande.