In the original, Rembrandt painted his son, reading. In my version however, I was trying to capture the essence of what made this painter so different from other painters. My tribute to Rembrandt is not meant as a copy of the original with his skill in technique or observation but, although in an semi-abstract manner, to emphasize the mystery and depth he was able to create around his images. Oil on canvas / 66.0 x 55.8 cm / 1960
When I drew this portrait of my wife, Jeanine between 1965 and 1970, I worked mainly on Semi- and Abstract images and several different techniques. However, my wife’s feature inspired me to draw a portrait in a conventional style. Brown pencil drawing on off-white paper / 27 cm x 17 cm / 1965 – 1970
From imagination this suburb town, seen from above has a tendency toward a semi-abstract look but form and colour rather representational. Oil on canvas , 66 cm x 78 cm / 1964
Spelling it out – the title made it less suspenseful.
Flower arrangement, composed of 4, each of primary colours. Oil on Canvas / 81 cm x 61 cm / 1964
Town of St. Andre de Cubzac, France, seen as it was in the 19th Century. Hometown of my late wife, Jeanine. The background with its vineyards and water tower is still the same. Modeling past and oil on Masonite / 60 cm x 90 cm / 1964
Winter is another word for this image. Oil on canvas / 76 cm x 101 cm / 1962 Sold
Keeping within a loose interpretation of cubism, the following paintings give a cross-section of how choices in my topics would prove a different outcome; they vary, either in social, historical, or political themes; they show my interests, as what inspired me, and the interpretation I chose. “Still life w. Coffee Pot”, for instance, is a […]
Inspired by interwoven patterns of music by J.S. Bach. Six linear geometrical forms overlap as six instruments play different, non-conflicting melodies in space and time. Perhaps I was ready to shake off old restrictions but still keeping structure and composition. Oil on canvas board / 76cm x 55cm / 1958
Although formally related to Cubism, it is of representational character. This painting stems from a time before travelling to Canada. The background hints faintly at the left of an easel that remains behind and to the right the Ocean I would soon cross. Oil on laminated Cardboard 48.cm x 34.cm / 1953
This is my last more detailed representational painting for the next twenty years. Oil on canvas board / 45cm x 40cm / 1958
At a Northern Ontario Exhibition in Timmins, they awarded me with three first prizes and sent the portrait of Ann Neely to Toronto’s National Exhibition. Both Portraits of the Neely’s remained with the family. Oil on canvas board / 60 cm x 40 cm / 1954
At a Northern Ontario Exhibition in Timmins, they awarded me with three first prizes and sent the portrait of Ms. Anne Neely to Toronto’s National Exhibition. The Portrait remained with the family at Kirkland Lake, Ontario. Oil on canvas board / 50 cm x 40 cm / 1954
The painting although called representational, the arrangement of this Still-life is symbolic if not surreal. Oil on canvas board / 30 cm x 35 cm / 1954
This rendering is a reflection on a long ago volcanic event in Pompeii. My interest in themes are becoming rather more Universal than Local. Oil on canvas / 70 cm x 81 cm / 1959
Married two years, first painting of my gracious wife. Oil on canvas board / 40 cm x 26 cm / 1959
Spatial painting, expressed with effective colours and depth, still representational in my development. Jeanine is reflecting on something while sitting. Oil on canvas board / 40 cm x 30 cm / 1959
This is a Still-life with a landscape seen through a window in Winter. I used the same composition for “Window in Spring” and “Window in Autumn”. Oil on cardboard / 73 cm x 50 cm / 1957
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