Gordon Perrier

“The man is an enigma. An artist who doesn’t paint; he
is a believer in the soul and spirit yet admits to
“probably” being an agnostic; he is a teacher who needs
to teach, yet seeks privacy; he is a private person, yet
needs recognition.”
2
Gordon Perrier (1935-2014): Distinguished Fine Artist, Professional Designer
and Inspiring Art Educator
By Carly McAskill
“Art is quality. It is not an idea or a fantasy displayed. It expresses energies from
the source…the source being revealed through a subject or situation. It
manifests a state of being.”1 – Gordon Perrier
Distinguished fine artist, professional designer and inspiring art educator, Gordon
Perrier (1935-2014) was born in Northern Saskatchewan and grew up in Hamilton,
Ontario where he attended Central Secondary School. He credited prominent
Dundas, Ontario artists, Madeline and Vincent Francis, for arousing his artistic
aspirations.2 Mainly self-taught, Perrier’s artistic talents were clearly evident in his
first job as a professional designer for the T. Eaton Company Limited. He built a
significant career in commercial art in subsequent positions as a major designer of
promotional interior and display advertising for such notable companies as
Kellogg’s Canada, Heinz Foods, Lawson-Jones Printers, Rouse & Mann Printers and
Bell Canada.3
No. 13
3
Perrier was additionally respected for his skills as a fine artist. His sister, Lynn
Perrier, described how her brother “had a relationship with the Group of Seven.”
She recalls: “it was Lawren Harris who wanted Gord to enrol in the Ontario College
of Art after seeing his work at the Doon School of Fine Arts [now the Homer
Watson Museum and Gallery].”4 Perrier did receive formal training at the Hamilton
Technical Institute under Jean Wishart and Hortense Gordon.5 In a Hamilton,
Ontario newspaper article, “The Push and Pull of Hortense Gordon,” Perrier
recalled his early years with this important abstract painter and pioneering art
educator who impacted his art practice so deeply. He described his experience
with Gordon as follows: “After Saturday classes at the art gallery, everyone in the
creative circles would go over to The Flamingo on MacNab, and, of course,
Hortense was there...those discussions would get quite active. Hortense loved to
talk art theory. When I had my first shows she would always be the first one in the
door. She’d come half an hour early, dressed to the nines...[her hair up piled under
a Spanish mantilla]...She was very dynamic...doggedly loyal and encouraging to her
students. Anyone she knew who was interested in painting, she was extremely
supportive of... she would follow their careers and write them letters.”6
When describing his own theories, Perrier insisted that art is not complicated,
rather art is a quality, not an idea or fantasy displayed.7 Primarily a watercolourist
who also painted in oils, Perrier described his work as non-objective, semi-abstract
and realistic (transparent) watercolour.8 Additionally, he described the medium of
watercolour as delicate and expressive as well as “probably the most difficult
medium...very subtle...[and] much more difficult to handle than oils.”9 Through his
paintings of still-life scenes of fruit and flowers (notably lemons and tulips),
landscapes of various places he lived (primarily in Southern Ontario) and the lyrical
qualities of his nude figures in transparent watercolours, Perrier was able to tap
into a state of being and harmony with the source of creativity. He often used the
term “the source” in his endeavour to explain what true art is. For him, art
expressed energies from the source, only revealed through a subject or situation.
Perrier was an artist who committed himself to the creative process and
understood that art is about aesthetic spiritual quality.
From the age of sixteen onward in the role of a painting instructor, Perrier did not
spoon-feed his students and infused all of his creativity into his teaching practice.10
He described it as “observ[ing] people discovering colour and tone, to be part of
an individual’s advancement in recognizing form and design, and generally
increasing his ability to SEE, is exciting. It is important work.”11
4
His extensive teaching career began in Hamilton, with later positions in London,
Ontario (1960-1964), at the Thames Art Gallery in Chatham, Ontario (1964-66), and
the Banff School of Fine Arts (Alberta, 1968) followed by a period in the USA and
Mexico. He returned to Hamilton in 1975 to fulfil the role of senior painting
instructor at the Dundas Valley School of Art, where he taught until his death in
2014.12
Throughout his artistic career, Perrier’s paintings were exhibited in important
Canadian juried exhibitions with the Ontario Society of Artists, The Art Association
of Montreal, The Canadian Society of Painters in Watercolours, the Young
Canadian Contemporaries, the Hamilton Winter Show, the Western Ontario Art
League Annual, and the Annual Winnipeg Show. Additionally, he had a number of
solo exhibitions in Ontario including at the Burlington Public Library (1958), the
Imperial Order Daughters of the Empire (I.O.D.E.) Provincial Headquarters in
Hamilton (1958), the Shute Institute in London (1961) and the Thames Theatre in
Chatham (1964, 1966).13 Perrier was also the recipient of several prestigious
awards including the American Commercial Graphic Society Award, Chicago (196263) as well as the Jurors’ Award and Purchase Award in the Winnipeg Show.14
Recounting his artistic career, Perrier said: “My success has resulted from keeping
my classes inspired, animated, and respectfully serious. For very serious students
who plan to become full-time painters I encourage an investigation into
philosophical approaches to art, and [I] support the students’ ego in their search
to develop individual emotional awareness.”15 Perrier painted for the sake of
painting and believed the prime purpose of art is self-expression. He was an
outspoken artist who always painted the way he felt regardless of current art
trends. In the article, “Painting Scares the Hell Out of Me…” Lois Clark described
his work beautifully, “And what of his painting? What is it like? Large oils...dark and
intense, mostly figurative, making a social commentary. Though in the dining-nook
hangs a freshly-coloured watercolour of apples and lemons. It was painted in 1963,
and [has a] forthright quality... paintings by a teacher who is himself, self-taught.”16
Throughout Perrier’s illustrious life he was a distinguished fine and commercial
artist, committed art educator, valued community member as well as a beloved
family member and friend.
You are warmly invited to celebrate Gordon Perrier’s life and art at the
retrospective memorial exhibition and sale of his paintings from June 20-July 4,
2015 at Whitehalls Gallery (40 Biggar Avenue, Hamilton, Ontario).
5
Title Page
–as quoted by Lois Clark describing Gordon Perrier in newspaper clipping, “Painting
Scares the Hell Out of Me…”, The Spectator. 1980: 6-7.
1
Quoted by Lois Clark in “Painting Scares the Hell Out of Me,” 6.
Colin S. MacDonald. Biography of Gordon Perrier.
3
Gordon Perrier. Cover letter, application for teaching position at Banff.
4
Lynn Perrier. Email to Stephen McCanse.
5
MacDonald. Ibid.
6
Quoted by Jeff Mahoney in “The Push & Pull of Hortense Gordon.”
7
Clark. Ibid.
8
Perrier. Ibid.
9
As quoted by Helen Ross in “Pupils Must Lose Inhibitions for Expression,” 14A.
10
Clark, Ibid.
11
Ibid.
12
Perrier, Ibid.
13
MacDonald, Ibid.
14
Perrier, Ibid.
15
Ibid.
16
Clark, p. 7.
2
Works Cited
Clark, Lois. “Painting Scares the Hell Out of Me…” The Spectator. 1980: 6-7.
MacDonald, Colin S. “Gordon B. Perrier.” A Dictionary of Canadian Artists.
Canadian Heritage Information Network, 1985. http://www.rcip-chin.gc.ca/indexeng.jsp (accessed 30 May 2015).
Mahoney, Jeff. “The Push & Pull of Hortense Gordon.” The Spectator 21 June
1994: D1.
Perrier, Gordon. Cover letter to the Banff School of Fine Arts, applying for position
as summer instructor. 23 April 1968. Ts. From Gordon Perrier’s personal archives.
Perrier, Lynn. Email to Steve McCanse. 1 June 2015.
Ross, Helen. “Pupils Must Lose Inhibitions For Expression – Art Teacher.” The
Windsor Star. 20 January 1968: 14A.
6
1.
“Still Life with Lemons”
Watercolour
22” x 30”
Dated (’66) verso
“Watercolour is probably the most
difficult medium, but is very subtle. The
materials are much more difficult to
handle than oils.” –as quoted by Gordon Perrier
in newspaper clipping, “Pupils Must Lose Inhibitions
for Expression –Art Teacher” by Helen Ross, The
Windsor Star, January 20, 1968
7
2.
Eden Series
Watercolour
30” x 22”
Titled, verso.
8
3.
“Still Life with Apples and Flowers”
Watercolour
32” x 23 ½”
9
4.
Comment en Baroque
Oil on Masonite
48” x 48”
Signed and dated (Perrier ’64)
Titled and dated, verso
10
5.
“Abstract Arrangement”
Watercolour on paper laid to support card
11 ¾” x 9” (image)
17 ¼” x 14 ¼” (support)
Signed and dated, ‘60
Printing instructions in pencil on support.
11
6.
“Standing Male Figure”
Watercolour
30” x 22”
12
7.
Lower Town, Champlain St. Quebec. ‘60
Watercolour
21” x 30 ½”
Titled and dated, verso.
13
8.
Firehall, Dundas, Ontario. May-1958
Watercolour on illustration board
15” x 19 ½”
Signed and dated ’58 recto.
Titled, dated, annotated and signed, verso.
14
9.
Paula C. Monterrey, California.’68
Watercolour
20” x 27 ½”
Titled and dated ’68, verso.
15
10.
Cannery Row, California. 1968
Watercolour
22” x 29”
Titled and dated, verso.
16
11.
Gloucester, Mass. 1959
Watercolour
21” x 30 ½”
Titled, dated and annotated “When I had the gallery in
Rockport, Mass.” Verso.
17
12.
Dance Lesson
Oil on two vertical panels of Masonite
48” x 48”
Signed recto. Signed, titled and dated, 1963, verso.
18
13.
Nin, my cat asleep on my Lemons. In Hollywood Studio, ’67.
Watercolour
22” x 30”
Titled, dated and annotated, verso
19
14.
“Still Life with Apples”
Watercolour
22” x 30”
Signed and dated, ’63, recto
20
15.
“Lemons”
Watercolour
30” x 22”
Signed and dated, ’66, recto.
21
16.
“Lemons”
Watercolour
30” x 22”
Signed and dated, ’66, recto.
22
17.
“Mother and Child”
Watercolour
30” x 22 ½”
Signed and dated, ’64, recto.
23
18.
“Industrial Hamilton with Watertower”
Watercolour
22” x 30”
Signed and dated ’59, recto.
24
19.
“Industrial Hamilton 2”
Watercolour
22” x 30”
Signed and dated “59, recto.
25
20.
“Steeltown, Landscape. Industrial Hamilton 3”
Watercolour
22 ½” x 30 ½”
Signed and dated ’59, recto.
26
21.
“Abstract, Black”
Oil on Masonite
48” x 48”
“And what of his painting? What is it like? Large oils . . . dark
and intense, mostly figurative, making a social
commentary. Though in the dining-nook hangs a freshlycoloured watercolour of apples and lemons. It was painted
in 1963, and forthright quality . . . paintings by a teacher
who is himself, self-taught.” –as quoted by Louis Clark describing
Gordon Perrier’s artwork in newspaper clipping, “Painting Scares the Hell Out
of Me…”,
27
22.
“Abstract 1”
Oil on Masonite
48” x 48”
28
23.
“Rectangular Arrangement”
Oil on Masonite
48” x 48”
Signed recto
29
24.
“Tulips”
Watercolour
30” x 22”
Signed and dated ’64, recto
Annotated, “London, ’63,” verso
30
25.
Tulips, London
Watercolour
30” x 22 ½”
Signed and dated ’64, recto
Titled and dated ’63, recto
Titled and dated ’63, verso
31
26.
“Tulips, London “
Watercolour
30” x 24”
Signed and dated ’64, recto
Titled and dated ’63, verso
32
27.
Ontario Farm, London. ‘63
Watercolour
23 ½’ x 30”
Titled and dated, verso.
33
Mainly self-taught, Perrier’s
artistic talents were
highlighted in his first job as a
professional designer for T.
Eaton Company Limited after
graduating from Central
Secondary School.
His ability as a fine draftsman
is evidenced by his innate
understanding of line and
form.
Perrier’s creative skills were
undeniable as he continued to
work in commercial art as a
major designer of promotional
interior and display advertising
for companies such as
Kellogg’s Canada, Heinz Foods,
Lawson-Jones Printers, Rouse
& Mann Printers and Bell
Canada.3
28.
Detail
Fashion Study
Watercolour and gouache on illustration board
9” x 15 ½”
34
29.
Happy Hoppers
Three Advertising vignettes
Watercolour and Gouache on Illustration board
15” x 20” (board)
35
31.
Fashion Drawings
Watercolours on illustration
board
30. 13” X 6 ¼”
30.
31. 14 ¼” x 6 ½”
36
32.
’56 Summer Shop Suggestion
Watercolour and gouache on illustration board
14 ¼” x 19 ¼”
Signed recto.
37
33.
Red Basket Shop. 1956
Watercolour and gouache on illustration board
14 ½’ x 19”
Signed recto
38
34.
Easter Attraction # 11 1956
Watercolour and gouache on illustration board
14 ½” x 20 ¼”
Signed recto.
39
Whitehalls Gallery
40 Biggar Avenue, Hamilton,
Ontario, Canada L8L 6N4
T: 905.527.5981
E: [email protected]
W: whitehallsgallery.com