Pauly Friedman and MacDonald Art Galleries
2017 - 2018 Calendar
All exhibitions and lectures are free and open to the public unless otherwise stated.
Galleries are closed for all university holidays including Spring and Fall Recess or cancellations due to weather. If traveling from a distance, please call to confirm the gallery will be open (570) 674-6250.
February 3 - March 31, 2018
Opening reception: Saturday, February 3, 5:00 pm - 7:00 pm
Canadian Masters of the Carmen and Sarah Latona Collection
Raynald Leclerc (b. 1961) - Port-au-Persil, Quebec, Oil on canvas, 20 x 24 in.
For a little over a decade, local fine art collectors Carmen and Sarah Latona have been acquiring Canadian Masters Art focusing on many of the most important Canadian painters of the last fifty years. Their deep admiration for the French-Canadian culture has flourished into an alluring and distinguished fine art collection.
About the collection by Carmen Latona:
This collection of Canadian Masters has grown out of our love for the French-Canadian culture--people, language, landscape, and art. Nearly twenty years ago, I visited Quebec for the first time. A family member told me that Quebec City was more beautiful than most small European cities and getting there wasn't nearly as stressful. Since then, my wife Sarah and I have visited Quebec City, Montreal, and Charlevoix, the mountainous region where the Saint Lawrence River begins to meet the ocean, as much as possible.
We bought our first French-Canadian painting in 2004 on l'Ile d'Orleans, an island full of artists, historic villages, cafes, space, and quiet. Shortly after they'd separated, the ex-wife of an artist was selling a portrait he'd done of her. That portrait hung unframed in our chalet the rest of the summer, the first painting we ever purchased together.
The same summer we met a collector/dealer at an outdoor show in Quebec City. He had just returned to Eastern Canada from Vancouver. His collection, voracity, and knowledge of art and the market awed us then and still does to this day. He's currently co-owner of one of Montreal's premier auction houses. He befriended us, opening Canadian art history to us firsthand, and amidst the beauty and excitement of the art and burgeoning friendship, we began to learn how to price and buy, and how the auction houses work in Quebec.
We spent the following summer with him and his family in their home along the Madawaska River. We enjoyed a nearby botanical garden and their canoe. His young daughter often took us to the ice cream shop. We spent our days cataloging art, archiving an artist's estate, cooking, and exploring. Our evenings became late-night discussions about artists--their work, their lives, and quirky stories about the ones our friend knew personally. We got to know nearly every painting in his gallery and home, ranging from antique artifacts, including a sarcophagus, to personal effects of artists, like the diaries of Gordon Kit Thorne. We had fallen in love with many of those works, and some of them are in our collection today.
Throughout the last twelve or so years, Sarah and I have studied Canadian Art, mainly the art of Quebec, as a regular part of our lives. Both high school teachers, we've tried to acquire a few paintings or drawings each year, focusing on important Canadian painters of the last fifty years.
We've worked in tandem on this collection. I've focused more on the market, working out deals, and tending to each piece when it arrives, framing and re-framing, arranging and rearranging. Sarah likes to tease me for my almost-nightly walks through each room, appreciating the pieces, moving them to different spots, pointing out what I hadn't noticed before.
Sarah's eye for certain artists, her advice, and her encouragement to focus our energy and resources in this direction have solidified our shared goal of building the best collection we can. Each piece is special to us, perhaps its history, our history with it, its beauty, the composition, a location we love, or a commission where the artist has rendered us in ways that only we know. But this collection isn't just about us. We hope it will grow to outlive us.
Horace Champagne (b. 1937) - Pastel on paper, 16 x 20 in.