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Perehudoff: Three Decades follows the Canadian abstractionist through the 1960s to his later work of the 1990s. This exhibition traces the evolution of William Perehudoff, one of Canada’s foremost colour field painters, through three transformative decades. From the 1960s to the 1990s, Perehudoff’s work evolved from the bold, geometric abstractions of his early career to more expansive, atmospheric compositions that explore the vibrancy of colour and the nuances of light.
Perehudoff’s broad canvases, brightly saturated colours, and neutral “fields” were informed by American abstraction as well as his Prairie setting. He was heavily influenced by the colourful abstract works of painters like Kenneth Noland and Amédée Ozenfant, and in the early 1960s Perehudoff attended several of the Emma Lake Artist’s Workshops held by Noland and Clement Greenberg. Greenberg was an enormously influential art critic who advocated for “formalist” painting: abstract works that explored colours, forms, textures, and compositional space rather than representation. Noland was a prominent American Colour Field painter. In the 1960s, Perehudoff’s bold colours, abstract shapes, and neutral grounds showed the influence of these workshops. Through the 70s, Perehudoff further explored the interaction of colour and form with the Thalia series. Thalia #10 is one of the largest efforts in the series. Rukaj Gallery is pleased to present several seminal works from the Thalia series.
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Arrangements of brilliant, clearly defined geometric shapes, to evanescent sheets and bars of pulsating color… [Perehudoff’s works] are characterized by… a meticulous concern for design - manifest in austere layouts - and an unabashedly romantic quest for the beautiful - in the form of ravishing color and surfaces.” – Karen Wilkin
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Along with Jack Bush, Perehudoff was a pioneer of Canadian abstract painting. By the 1980s he moved away from hard-edge geometric forms and developed a method of bleeding paints across unprimed canvas to create a wash of colour. Perehudoff would then apply broad strokes of an acrylic paint and gel mixture. The juxtaposition between the soft, thin wash on the canvas and the gleaming, saturated colours on top is characteristic of his work in the 1980s. In the latter half of the decade, Perehudoff began to paint "window-like opening[s]" surrounded by washes of colour. In many of his 1990s canvases he returned to the hard-edge geometry of his early works, and these paintngs often feature brightly saturated shapes on soft fields of colour. The artist once said that "when you listen to music, you hear it, and when you look at abstract painting, you see it."
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William Perehudoff
AC-65-6, 1965Acrylic on canvas
78 1/8 x 77 in. (framed)
198.4 x 195.6 cm. -
William Perehudoff
AC-88-043, 1988Acrylic on canvas
56 x 58 in.
142.2 x 147.3 cm. -
William Perehudoff
AC-87-109, 1987Acrylic on canvas
32 x 31 in.
81.3 x 78.7 cm. -
William Perehudoff
AC-84-41, 1984Acrylic on canvas
42 x 42 in.
106.7 x 106.7 cm. -
William Perehudoff
AC-87-115, 1987Acrylic on canvas
44 x 43 in.
111.8 x 109.2 cm. -
William Perehudoff
AC-92-14, 1992Acrylic on canvas
52 x 58 in.
132.1 x 147.3 cm. -
William Perehudoff
AC-82-J, 1982Acrylic on canvas
66 x 32 in.
167.6 x 81.3 cm. -
William Perehudoff
AC-81-89, 1981Acrylic on canvas
64 x 27 in.
162.6 x 68.6 cm. -
William Perehudoff
AC-84-95, 1984Acrylic on canvas
43 x 66 in.
109.2 x 167.6 cm.
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