Christian Marcel Barbeau
(1925 - 2016) Les Automatistes, RCA
Previously Sold Works
CHRISTIAN MARCEL BARBEAU
Rétine Ying Yang
acrylic on canvas
signed, titled and dated 1966 on the reverse
54 x 54 ins ( 137.2 x 137.2 cms )
Auction Estimate: $60,000.00 - $80,000.00
Price Realized $60,000.00
Sale date: November 22nd 2021
CHRISTIAN MARCEL BARBEAU
Dents de sable à cran d’acier / le langage des sources
oil on canvas, laid on panel
signed and dated 1947 lower right; signed, titled and dated on the reverse
11.75 x 16.75 ins ( 29.8 x 42.5 cms )
Auction Estimate: $15,000.00 - $18,000.00
Price Realized $23,600.00
Sale date: November 19th 2019
CHRISTIAN MARCEL BARBEAU
Le diamant des dames
acrylic on canvas
signed and dated 1979 lower left; signed, titled and dated 1979 on the reverse
32 x 40 ins ( 81.3 x 101.6 cms )
Auction Estimate: $10,000.00 - $15,000.00
Price Realized $14,160.00
Sale date: November 20th 2018
CHRISTIAN MARCEL BARBEAU
Le rouge et le noir
oil on canvas
signed, titled and dated 1963 on a label on the stretcher
32 x 39.5 ins ( 81.3 x 100.3 cms )
Auction Estimate: $14,000.00 - $18,000.00
Price Realized $11,500.00
Sale date: May 25th 2017
CHRISTIAN MARCEL BARBEAU
La Neige De Ses Rires
acrylic on canvas
signed and dated 2001 lower right; signed, titled and dated 2001 on the reverse
21.25 x 28.75 ins ( 54 x 73 cms )
Auction Estimate: $3,000.00 - $5,000.00
Price Realized $8,740.00
Sale date: June 1st 2016
CHRISTIAN MARCEL BARBEAU
Un homme et une femme
oil on canvas
signed and dated 1959 lower right; unframed
24.5 x 18.25 ins ( 62.2 x 46.4 cms )
Auction Estimate: $8,000.00 - $12,000.00
Price Realized $7,475.00
Sale date: November 23rd 2017
CHRISTIAN MARCEL BARBEAU
Abstract Composition
gouache on paper
signed and dated 1972 lower right
25.5 x 19.5 ins ( 64.8 x 49.5 cms )
Auction Estimate: $3,000.00 - $5,000.00
Price Realized $5,664.00
Sale date: May 29th 2018
CHRISTIAN MARCEL BARBEAU
L’azur couché sur l’orange
acrylic on canvas
signed and dated 2001 lower right
14.75 x 18 ins ( 37.5 x 45.7 cms )
Auction Estimate: $3,000.00 - $5,000.00
Price Realized $4,248.00
Sale date: November 20th 2018
CHRISTIAN MARCEL BARBEAU
Abstract, 1976
oil on canvas
signed and dated 1976 lower left; signed and dated on the reverse
18 x 22 ins ( 45.7 x 55.9 cms )
Auction Estimate: $3,000.00 - $5,000.00
Price Realized $3,120.00
Sale date: June 15th 2022
CHRISTIAN MARCEL BARBEAU
Cordou La Belle
acrylic on canvas
signed and dated 1980 lower right; signed, titled and dated 1980 on the reverse
25.5 x 31.75 ins ( 64.8 x 80.6 cms )
Auction Estimate: $4,000.00 - $6,000.00
Price Realized $5,280.00
Sale date: November 17th 2020
CHRISTIAN MARCEL BARBEAU
Isle aux bleuets
acrylic on canvas
signed and dated 2002 lower right; signed, titled and dated on the reverse
20 x 24 ins ( 50.8 x 61 cms ) ( overall )
Auction Estimate: $3,000.00 - $5,000.00
Price Realized $3,360.00
Sale date: June 24th 2021
CHRISTIAN MARCEL BARBEAU
Du Nord et Du Sud
collage on paper
signed and dated 1971 lower right; signed, titled and dated on the reverse of the framing
24.75 x 19 ins ( 62.9 x 48.3 cms )
Auction Estimate: $2,000.00 - $3,000.00
Price Realized $2,832.00
Sale date: February 20th 2019
CHRISTIAN MARCEL BARBEAU
L’heure la plus silencieuse (Les combustions originelles)
ink on paper mounted to paper
signed and dated 1951 lower left; titled on a label affixed to the reverse of the framing
8 x 5.25 ins ( 20.3 x 13.3 cms ) ( sheet )
Auction Estimate: $1,500.00 - $2,500.00
Price Realized $2,640.00
Sale date: June 24th 2021
CHRISTIAN MARCEL BARBEAU
Manhattan Stories, Park Place
acrylic on canvas
signed and dated 1990 lower right; signed, dated and titled on the reverse
24 x 30 ins ( 61 x 76.2 cms )
Auction Estimate: $2,500.00 - $3,000.00
Price Realized $2,300.00
Sale date: May 29th 2014
Consignments
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Marcel Barbeau Biography
(1925 - 2016) Les Automatistes, RCA
Born in Montreal in 1925, Marcel Barbeau was a student of Paul-Émile Borduas at the École de meuble in 1944. Initially enrolled in the École de meuble as a carpentry student who, admittedly, knew nothing about art noticed a rambunctious class run by Borduas. Curious, Barbeau received permission to transfer into this class. Barbeau and Borduas developed an intense relationship as a teacher and mentor. Barbeau signed Borduas’ famous manifesto Refus global but did not receive the same consequences at Borduas as he, at the time, was jobless and did not have a family. The pair remained close until Borduas immigrated to the United States. Barbeau studied alongside Jean Paul Riopelle at the École de meuble.
As early as 1946, Barbeau participated in Automatistes exhibitions. “Veillomonde” (1949) was exhibited in the second Automatistes exhibition that was held in Pierre and Claude Gauvreau’s apartment. Early in his career, Barbeau experimented with many different ways to make paintings. For example, in “Sauvage-Furie ou Automne-delire” (1947) he used a palette knife to peel back the surface of the painting. In “Au Château d’Argol” (1946-47) Barbeau overlaid linear black lines on top of clusters of red and turquoise. In 1947, Barbeau made fifty “all over” paintings. His “all over” paintings were inspired by European surrealism and Barbeau produced works where lines seemingly floated across the canvas. In 1950, he painted three hundred and fifty coloured ink drawings called Combustions originelles.
Throughout his life Barbeau often moved to different cities to experience various art communities. In the 1960s and 1970s he lived in Europe and the United States, in Paris, California, and New York. In doing this Barbeau was able to gain first-hand experience in current aesthetic developments in the art world. He would bring skills he found useful back to his studio in Montreal and incorporate various techniques into his personal repertoire. Due to his extensive travels and knowledge of the modern art world, Barbeau was able to have a conversation of sorts in his paintings with fellow artists, such as Jackson Pollock, Robert Motherwell, and Ellsworth Kelly. Movement was important for Barbeau and he composes his work in a de-centred way that makes it slightly off balance. Perhaps, his fascination with movement is derived from his interest in dance. Barbeau first became interested in dance in 1947 when he made a mask for a piece choreographed by Françoise Sullivan, a fellow contributor to Refus global.
Literature Source:
Robert Enright, “Marcel Barbeau: The Colour of Change.” Border Crossings, Issue 114 (May 2010)
We extend our thanks to Danie Klein, York University graduate student in art history, for writing and contributing this artist biography.