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Edmund Alleyn
1931 - 2004



	Untitled 1959 historical canadian 1959 SOLD 22 x 30 (in) oil on canvas

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Alleyn, Edmund, painter (b at Quebec City 9 June 1931). After studying at the Ecole des beaux-arts de Quebec under Jean Paul Lemieux, he went to France in 1955, where he lived and exhibited his work until 1971. Upon his return to Quebec, he settled in Montreal and has taught visual arts since 1972 at the University of Ottawa. His evolution as a painter is all the more amazing in that his virtuosity and originality have been apparent in each of his successive periods. His Early work was strongly influenced by Goodridge Roberts, Alfred Pellan, and Russian artist Nicholas de Stael.

Beginning with stylized figuration, Alleyn showed much elegance and fluidity in his tachist, or action, works in the period 1952-62. He then made a side excursion into works inspired by native mythology before committing himself to a series of schematic pictures, infused with science fiction, dehumanized medicine and other terrifying "zooms, conditionings or aggressions."

Both a critic and a part of accelerated technological change, he condensed his research and reflection into Introscaphe, a tight synthesis combining the senses and the electronic, a work exhibited to much acclaim at the Musee d'art moderne de Paris in 1970. His impressive show, Une belle fin de journee, held in fall 1974 in Quebec City and Montreal, showed again his exceptional talents as an original artist. After a period of inactivity, he began painting again in the mid-1980s.

Alleyn was an innovative artist who, much like his contemporary Marcel Barbeau, was a consumate artist who could not rest on one style or medium, but strove to explore and dispense with so many different facets of his craft. Writing in the Globe and Mail, February 16, 2005, M.J. Stone wrote: "Remarkably versatile, Mr. Alleyn was an innovator whose stylistically diverse paintings, drawings and multimedia installations are all critically regarded as superb examples of their genre. An intellectual painter, his oeuvre resonates with the tensions that exist between the figurative and non-figurative, sometimes playfully marrying Pop and Formalist art together. In his later work, he invoked an elegiac, cinematic quality, inviting viewers to locate their place within his work."

His work is in the permanent collections of the VAG, MQ, MMFA, and the NGC. He exhibited at the RCA in 1964 and the MMFA between 1954-1962.

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