INGRAM GALLERY | FEBRUARY 2017


 
February's exhibition at the gallery, Impression, features the release of rare and new to market aquatints by Nicholas Hornyansky (1896-1965).  Accompanying these masterfully rendered original prints is a collection of works in a full range of printmaking methods from our contemporary and historical roster.  Contemporary artists David Michael Scott, Jessica  Levman, Rachel Berman and Ryan Price hang alongside the historical works of Jack Nichols, Carl Schaefer, Edwin Holgate, L.L. Fitzgerald, Florence Vale, Mary Wrinch and other notable Canadian artists.

This issue has more for you on Hornyansky, the aquatint process, and an overview of the types of original printmaking techniques.  We look forward to building on the information, artists and images here in conversations with visitors at the gallery this month.  The art of both creating and collecting original Canadian prints is a passion of ours.

The count down is on!  Not only does spring arrive next month, so too does opening day for Sean Yelland's highly anticipated solo exhibition, sonder.  We have a preview for you here -- with a full feature on Yelland, his career and his exceptional new works ahead in our next issue of Ingram Art News.

Above: Barker Fairley, Rachel Berman, Ryan Price, Florence Vale, David Michael Scott
ON THE WALLS | AT INGRAM
 

Impression
Canadian Printmaking
February 11 - March 2 . 2017

An original print is an image on paper or similar material made by one or more of four main processes: relief (woodblocks, linocuts), intaglio (engravings, etchings, drypoints), planographic (lithographs), and stencil (silkscreens).  The development of printmaking is directly connected to the development of movable type and the printing press in the 15th century, although woodblock printing had been used earlier, on textiles for example.  Please follow this link for further information on the history of printmaking with additional essays: The Printed Image in the West: History and Techniques.

Nicholas Hornyansky's print Closing Time was the first Canadian print to enter the Permanent National Collection of Prints, of the Library of Congress, Washington.  In 1940 he won 'Print of the Year' from the society of Canadian Painters-Etchers & Engravers, and was elected a member of the OSA.

"Hornyansky's steps in the final realization of an aquatint usually evolved in the following manner: his immediate impression was recorded in a pencil/watercolour sketch or on occasion in an oil sketch.  The sketch was then transposed onto a copper plate, which was then chrome-faced.  The unique 'Hornyansky' aquatint process began at this point.  His technique 'the single-pull, positive-approach aquatint' was renowned for its 'more subtle quality' effect on the draughted line 'as well as richness in the masses of color'.  This innovative printing technique was shared through his numerous lecture-demonstrations which he gave in public galleries and to art societies throughout the country.  He as well held the position of instructor of printmaking at the Ontario College of Art, from 1945 until his death in 1965."

- Nicholas Hornyansky Retrospective 1926-1965 | Oakville Centennial Gallery, 1976

Please contact the gallery for images, pricing and full details for works in the exhibition by individual artists of interest.
UP NEXT | AT INGRAM

 
SEAN YELLAND
sonder
March 23 - April 15 . 2017

Artist's opening reception: Thursday, March 23 | 6pm-8pm

With the heart of a poet and an eagle eye for subject matter Sean Yelland is among Canada's finest painters.  Born in Toronto in 1966, Yelland has called the city home throughout his successful career.   A graduate of Ontario College of Art and Design, he knows the city -- indeed, he is a near personification of it.

Sean Yelland's 10th solo exhibition with Ingram Gallery,  sonder interlocks what we know and love of Yelland's hyper-realist work and his unique way of considering urban subject matter in all new large scale oil paintings.

Yelland's newest creations also make a debut in this exhibition - inspired by motel postcards used as backdrops, we see delightfully bizarre scenarios set in meticulously constructed illuminated dioramas.

n. the realization that each random passerby is living a life as vivid and complex as your own-populated with their own ambitions, friends, routines, worries and inherited craziness-an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you'll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk.

- The Dictionary of Obscure Sorrows
Please contact the gallery for press queries.

FROM ALL OF US | AT INGRAM 
 

Thank you to all that visited in January and brightened each day at the gallery with your engagement and appreciation.  Local art lovers are missing the beautiful Joe Rosenthal (R.C.A.) bronze sculpture that was installed for all to enjoy in front of the gallery.  The Conversation is happily installed in its new location, and we are already at work casting the last one in the edition -- aiming to have it back in the neighbourhood come late spring.


  Above: Travis Shilling, Ken Danby, Daniel Hughes, Florence Vale


We have light filled new works at the gallery from   Travis Shilling, as well as from Jane Everett and Ryan Dineen.  Newly available works are also in by Harold Town and Florence Vale.  A reminder that all underlined text in all issues of Ingram Art News link to further images and information.  As example, our complete 2017 exhibition schedule can be viewed by clicking here.

Pairing two great exhibitions ahead with many new and noteworthy works to see throughout the gallery walls -- we look forward to engaging with you in conversation soon.

With good wishes,
 
Tarah Aylward, Director   
Ingram Gallery 

@TorontoART | For the love of art | #AtTheGallery