Artwork by Gershon Iskowitz,  Night Blues - G

Gershon Iskowitz
Night Blues - G

oil on canvas
signed, titled and dated 1981 on the reverse
39.25 x 34 ins ( 99.7 x 86.4 cms )

Sold for $21,240.00
Sale date: May 29th 2018

Provenance:
Gallery Moos, Toronto
Private Collection, Calgary
Literature:
Adele Freedman, Gershon Iskowitz: Painter of Light, Toronto/Vancouver, 1982, pages 132 and 148
Roald Nasgaard, Abstract Painting in Canada, Toronto/Vancouver, 2007, page 244
Peter Mellen, Landmarks of Canadian Art, Toronto, 1978, page 240
Iskowitz’s paintings of the 1970s and 80s are comprised of magnificent vivid shapes in contrasting tones that create an ethereal, cloudlike quality. In 1982, Freedman writes how over the past decade of his artistic production, Iskowitz's accents “have become more marked and their tone more confident and direct. They are about his excitement of discovering a new blue...a fresh nuance or shape.” In “Night Blues - G”, the artist appears to have discovered one of his “new blues”, with its striking cobalt pigment that overlaps the contrasting colours beneath. On the same subject, Nasgaard writes that Iskowitz, by the 1980s, had “upped the ante by electrifying his colours, intensifying their contrasts and hardening the contours of his forms.”

The Canadian landscape provided Iskowitz with constant inspiration, particularly in the ever-changing patterns of the sky. Rather than rendering the land in traditional landscape art, he instead expressed this inspiration through the abstraction of bright contrasting forms. Iskowitz drew on his personal recollections of experiences with landscape for his work, explaining that he would take “...the experience, out in the field, of looking up in the trees or in the sky, of looking down from the height of a helicopter. So what you try to do is make a composition of all those things, make some kind of reality...That's painting.”

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Gershon Iskowitz
(1920/21 - 1988) RCA

Born in Kielce, Poland, in either 1920 or 1921, Gershon Iskowitz immigrated to Canada in 1948 after surviving three Nazi concentration camps. As a child, Iskowitz had an aptitude for art. He created advertisements for his local movie theatre in a section of his family’s living room that his father portioned off to create a small studio. In 1939, he was accepted into the Academy of Fine Arts in Warsaw but returned home only a few days after he began due to the Nazi invasion of Poland. Initially placed in the Kielce Ghetto, once liquidated Iskowitz was imprisoned in concentration camps throughout Poland and Germany. While he continued to make drawings during this period only two survive: Condemned (1944-46) and Buchenwald (1944-45). Upon liberation, he lived in the Feldafing Displaced Persons Camp and audited courses at the Academy of Fine Arts in Munich.

Upon receiving a temporary travel document from the Military Government for Germany, issued to stateless people, Iskowitz traveled to Canada via the United States in 1948 where his extended family greeted him at Union Station in Toronto. Until 1954, Iskowitz’s paintings focused on memories from his imprisonment. In the same year, he was included in the Canadian Society of Graphic Art exhibition at the Art Gallery of Ontario (AGO) alongside Painters Eleven artist Oscar Cahén.

By the 1960s Iskowitz’s style transformed from gestural to abstract. He became interested in exploring the Canadian landscape rather than his wartime memories during this period. After exhibiting at Gallery Moos in October 1964, for the first time, Iskowitz formed a close relationship with the owner, Walter Moos. Moos managed Iskowitz’s career and finances from this point forward. After receiving a Canada Council grant in 1967 he flew to Churchill, Manitoba. Entranced by aerial views he saw while in flight, Iskowitz began incorporating this perspective into his art.

Iskowitz was selected to represent Canada alongside Walter Redinger at the Venice Biennale in 1972 where he displayed four of these areal diptychs. In 1982, the AGO put on a retrospective exhibition of Iskowitz’s life work. After the retrospective exhibition had concluded, Iskowitz set up a foundation that would provide financial support to artists through an annual monetary prize, with assistance from Moos.

Literature Source: Ihor Holubizky, Gershon Iskowitz: Life and Work. Toronto: Art Canada Institute, 2018 (https://aci-iac.ca/art-books/gershon-iskowitz)

We extend our thanks to Danie Klein, York University graduate student in art history, for writing and contributing this artist biography.