Galerie Jeannine Blais
Magazin'Art
  • ÉDITORIAL Magazin'Art HIVER 2020

    Concerning works of art,

    leave nothing to chance!

    Editorial

    As with everything, foresight is important in Art. This disheartening story is in point. At the passing of their parents, the children divided among themselves the paintings that were part of the estate. So far, so good. Works of great value, from highly renowned artists. Then a sinister event occurred: a major fire at the home of one of the heirs. Many paintings are destroyed. A total loss. The legatee files a claim with his insurance company: $40,000 for a Suzor-Côté, $20,000 for this Cosgrove, $15,000 for a René-Richard and $37,000 divvied-up among three works by Francesco Iacurto, Claude Picher and René Gagnon. “Dad said he paid $40,000 for the Suzor-Côté,” says the son, but there is no proof.

    Altogether we are talking about $122,000 worth of artworks that went up in smoke. Not including the lost patrimonial and historic value of these assets. The home itself was evaluated at $259,000 and insurance covered this amount. The glitch is that the paintings themselves were not insured. This is where the problems start, hassles opening wide the door to the tactics of insurance companies. Were there assessment certificates delivered by an independent assessor? No. Where pictures of the artworks submitted to the insurer prior to the incident? No. Then, everything will be considered as part of the “movable assets” provision, at great loss. Which would be appalling. Hence the importance of having your artworks assessed by a specialist, since their value f luctuates according to numerous criteria and parameters but mostly through supply and demand on the market.

    Retaining purchase invoices pertaining to the artworks is certainly helpful, but only to a certain extent. For insurers will conduct their own assessment in keeping with their profit rationale, or if you prefer… paying as little as possible… and this, by touring galleries to determine the current asking price for your artworks. This sinister roundabout could lead to the under-valuation of your property, which would thus be significantly lower or erroneous. Every insurance company has its own policy in this regard. It’s up to you to make sure you have a clear understanding of your coverage to avoid incurring important losses.

    As the saying goes: “It’s better to be safe than sorry!” Very apropos, don’t you think?

    Michel Bois


    Many thanks to Mr. Claude Belley for his collaboration. Galerie LeBelley, 91, rue Saint-Paul, Québec, QC, 418 694-0995

     

    Winter 2020

    La prévoyance comme en toute chose a sa place en Art…

  • René Gagnon

    A Giant Madly in Love with the Kingdom of Saguenay

    Great Encounter

    “Several aspects of a painting are worthy of interest. The subject, the theme, must always be rendered in a simple, coherent fashion, but still impress the beholder. The viewer must be led – by avoiding unnecessary details – to follow the path the painter intended and behold the sensation which possessed the artist.” – Alfred Sysley.

    A freedom-loving farmer’s son, René Gagnon wanted to be a “coureur des bois”. The hazards of life and an irresistible calling towards artistic creation determined otherwise. Definitely for the best! Indeed, some of the greatest visual artists of the time passed on to him their tremendous and tumultuous passion for art. Artists such as René Richard, Cosgrove, Ayotte, Albert Rousseau, Marc-Aurèle Fortin, and many others.

    Au pays d’un royaume (Saguenay), oil on Masonite, 40 x 48 in, 2008

    Au pays d’un royaume (Saguenay), oil on Masonite, 40 x 48 in, 2008

    This simply due to the fact that he was the nephew of René Bergeron, an important artists’ manager, who invited his protégés to come and paint on his land in the Saguenay. Thus, self-taught painter René Gagnon was privy to the best lessons in art and life itself through the words of these passionate, freedom loving, masters. In interview, the artist warmly reminisces about these moments, late in the day, when everyone appraised the work of others, often providing constructive criticism. But always delightfully appreciative of how a colleague was able to capture the beauty of the landscape and the fugacious lights of the moment.

    Féerie d’automne, oil on Masonite, 40 x 48 in, 2016

    Féerie d’automne, oil on Masonite, 40 x 48 in, 2016

    Abonnez-vous au contenu de notre site internet pour lire ce texte. Subscribe to our Website content to read more

    Text by Michel Bois


    renegagnon.com

    info@renegagnon.com

    66, chemin de la Pointe à Gagnon, Anse de roche, Sacré-Cœur, QC

    Musée René Gagnon, 203, rue Notre-Dame Ouest, Montréal, QC

    Header image: Féerie d’automne, oil on Masonite, 40 x 48 in, 2016

     

    Hiver 2020

    Several aspects of a painting are worthy of interest…

Artist Guide Gallery Guide

Sign up to receive our newsletter