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The corresponding novel covers are shown on the right. |
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  "1641 Sailing To New
France"
The subject is an approximation of
the ship that transported Guillaume, Michelle and Jean Pelletier to what
is now Canada. The wave action showing a constant force forward in the
water to the right, along with the tilt of the boat into the slow onward
goal,
is important to the work.
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  "Baltimore Schooner"
The vigorous brush strokes show
gradations in the depth of the water by their applied pigment. Just as
they do in nature, the sweep of the clouds and the rake of the mast
complement each other, with the lines becoming evocative of movement.
Detail and colour become secondary to the story.
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  "Cubic Fields,
Tourouvre,
France"
At one time Cubism moved from an
analytical to a more synthetic period. This more flowing style is
presented here. The reason for painting the fields of France was not
significant to the visual area, but rather was a point of painting near
the initiation of the Cubism movement.
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 "Lone Arbutus Tree At Storms Break"
The lines of the landscape swing in
broad sweeps across the picture, and are framed by the tall curving
tree. This leads the eye into the break of the storm itself, allowing
one to experience the contradictory nature of two simultaneous weather
systems.
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  "Oceanic
Sunset"
Here all is poetic invention, a
transformation of the actual. The goal was to capture the play of light
that seems unreal, being that of the sunset at a moment when the sun
dominates and floods the clear sea air and sky. The composition centres
on the waves as they direct the eye to retain that focus. The painterly
style call Mannerism, with its overemphasis on a distinct mode of
expression is evident. It is painted with sentiment revealed by slight
distortions
or exaggerations of the subject matter.
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  "The
View From The Road In"
A painting of Lacombe, Alberta, this
piece is nostalgic, sketched and painted in 2003 at a 40th year high
school reunion. The composition is based on oblique lines, ascending
from left to right by way of the clouds. They are adroitly played
against balanced lines, which continue along the road's path through the
centre of town. This aspiration to measureless distance adds the gravity
of poetry and is in itself an achievement. The original title was
"The View From The Road In, Was Also The Road Out". It is
Highway #12 and was a road to and from
the artist's former home town of
Clive, Alberta.
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  "Vulnerable"
As a companion work
to "Singular Sorrow" shown below, in this
latter work the composition itself portrays a symbolism. In
the earlier work the woman seems to be floating with the quest for
artistic value and slow movement being in the use of a minimal number of
lines.
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 "Dreaming"
 The painting is after the style of Pablo Picasso found in
"The Dream", which was painted in 1932. It uses the perception
of both a profile and a full face, along with the body distortions
of two
linear forms.
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"Singular
Sorrow" has been noted as a
favorite among many viewers of the
entire collection. Being contemporary
along with having an easily
recognized
form and "story", brings it to the forefront
to a
large number of individuals.
The two works are 16" X 20".
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Painted by Lon in late
2008, "Dreaming" was intended to be
used for the cover of the musical comedy of
"Robbie Phallic
McKinnis". As insinuated by the painting,
the play
encompasses much sexual content as the base of many of
the hilarious
songs. We found it too sexual, as far as being
comfortable with using it - and we recently replaced
it with
a much more conservative cover. 1932 levels of visual
communication
with art were obviously interesting.
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Cover
art © Lonnie
P. Pelletier 2006-2008
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