TERRY FENTON PAINTINGS


ATTENDANCE, Near Rosetown, Sask., 2011. Oil  on panel, 24 x 39 in.

 

 

Grassland and grassland, mile after mile. There were straight roads here, and little farming towns with grain elevators. All this was marvelously welcome to me. "Why do I love it so much?" I said... "Is it because it isn't scenery?
-- Alice Munro

The wide-open spaces of Saskatchewan seem the antithesis of what Alice Munro called "scenery". They're not hemmed in by trees and interrupted by "views." They're "everywhere all-at-once."

The Saskatchewan prairies are the big part of Canada that the Group of Seven didn't paint. "Bury me not on the lone prairie," lamented A. Y. Jackson. "I could do nothing with the place." Because of their apparent lack of scenery, the open prairies haven't been much painted by anyone. Even painters who've flourished in Saskatchewan have preferred the river valleys in the plains or the aspen parkland to the north and east. While I admire and have absorbed much from them, I'm drawn south and west to the grasslands -- partly because I was born and raised in Regina, but also because the color and light there is so luminous. And because the solutions found by painters from the past don't work well in the wide-open spaces, I look for new ones.

It has been said that due to their familiarity with wide horizons Saskatchewan natives make good seamen. Maybe so. In any event, when I'm in Victoria for that very reason I look out to sea.

A word about materials: Many of these paintings are painted with oil paint on paper: high quality rag watercolour paper. This medium is by no means new, having been used by artists as accomplished as Corot and Vuillard. Their paintings, not protected by glass, have stood the test of time both physically and aesthetically.

Terry Fenton

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RECENT PAINTINGS

LAND AND SEA

NEW: OCEANS

A selection of paintings of prairie and sea subjects
some to be shown at Winchester Galleries, Victoria, October 10-30, 2004


You are painting some seriously good pictures, Fenton. Some of the color, and the affinity of the pictures with the landscapes (not just looking like but feeling like) is eerie.

-- Walter Darby Bannard, Sept 7/04



Late Light


Competition


Weak Disturbance


Disbelief


Premonition


Foray


Theorem


Illumination


Oriflamme


New Bearings


Eastward


Afloat


Byword


Margin


Weathering


Haze


Anthem


Luminance


Bell and Candle


Tacitus on Top


Death of the Heart

OLDER PAINTINGS
a mini-retrospective
changed Nov 5, 2000

 

 
 ANDREW'S NUDE 1971

 
 PATH IN WHITE MUDE RAVINE, 1981

 
 MORNING LAKE LOUISE, 1981

 
 WEND, 1983 

 
 ZIG-ZAG, 1984

 
 EVENING, TOBY CREEK, 1984


 BUGABOO CREEK, 1984

 
 BLACK GALLAGHER, 1988

 
 TWO SYMPHONIES, 1989

 
 JOY SPRING, 1991

 
 BETWEEN SNOWS, 1992

 
 SPECTRE, 1993

 
 LAST LOOK, 1991

 
 PULPIT, 1996

 
 FRATERNAL, 1997