Fine Art & Hockey: A Point of View
Montreal, Toronto
Philip Surrey
Penalty 2/4 , 1961
1910-1990
Charcoal - Fusain
7 1/2 x 3 in
19.1 x 7.6 cm
19.1 x 7.6 cm
Inscriptions
signed, dated "Philip Surrey / 1961.".Provenance
Private collection, Montreal, Quebec.Exhibitions
2016, Galerie Alan Klinkhoff, "Fine Art & Hockey: A Point of View / L'art et le hockey; une perspective", Montreal.
From Fine Art & Hockey: A Point of View
The inspiration for this is probably Montreal’s Marcel Bonin #8, “L’ours de Joliette”, who played left wing with the Montreal Canadiens for 4 seasons from 1958. This is a rarely seen body of work by Surrey and evidence of Surrey’s extensive interest in art for art, and hockey as an excuse to study various mediums of artistic expression. The series also speaks to the intensity of his creative process. One need be reminded of his painstakingly slow development of a single painting, beginning with a number of drawings, sometimes a pastel, maybe a watercolour, then perhaps a small oil, then larger studies, before progressing to a larger oil. The development of an image in the engraving process was by nature of the medium - even slower than the painting. The etchings that we have seen, tend to be confined to the late 1950s and early 1960s after which he sold his press.
Written by Alan Klinkhoff
The inspiration for this is probably Montreal’s Marcel Bonin #8, “L’ours de Joliette”, who played left wing with the Montreal Canadiens for 4 seasons from 1958. This is a rarely seen body of work by Surrey and evidence of Surrey’s extensive interest in art for art, and hockey as an excuse to study various mediums of artistic expression. The series also speaks to the intensity of his creative process. One need be reminded of his painstakingly slow development of a single painting, beginning with a number of drawings, sometimes a pastel, maybe a watercolour, then perhaps a small oil, then larger studies, before progressing to a larger oil. The development of an image in the engraving process was by nature of the medium - even slower than the painting. The etchings that we have seen, tend to be confined to the late 1950s and early 1960s after which he sold his press.
Written by Alan Klinkhoff
