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SATURDAY EVENING POST
January 27th, 2024
Richard Ciccimarra, born in Austria in 1924, emerged as a profoundly influential figure in the Canadian art scene, particularly known for his distinctive expressionist style.
His early life in Austria, marked by the tumult of World War II and the socio-political upheavals of the era, deeply influenced his artistic sensibilities. These early experiences imbued in him a sense of emotional depth and complexity that would later become the hallmark of his art. In the aftermath of the war, seeking a new beginning and an escape from the ravages of his homeland, Ciccimarra immigrated to Canada. Settling in Victoria, British Columbia, he soon became an integral part of the city's burgeoning art community, notably joining the Limners Society.
Ciccimarra’s artistic style was a unique blend of expressionism, characterized by a strong, emotionally charged approach to his subjects.
Whether he was painting a landscape, a still life, or a human figure, each piece was a deep dive into the essence of the subject, reflecting a narrative that was both personal and universal.
This intensity in his work was perhaps a mirror to Ciccimarra's own life experiences, which included the challenges of adapting to a new culture and the lingering memories of war.
“Images suggestive of the divided self persisted in Ciccimarra’s work until his death. Many pieces contain two figures: one consistently appears to be himself, the other his shadow or mirror image, or, possibly, another closely related individual – his father, one of his wives, or a personification of death. Like the Austrian Egon Schiele, Ciccimarra was fascinated with the idea of the double. The double permits unacceptable behavior, explains the contradictions, and allows escape. It is also an extension of the fascination with the self.” Writes art writer and critic, Frank Nowosad, “The intimate facts of Ciccimarra’s life – his failed marriages, alcoholism, and towards the end, severe depression and deteriorating physical health – contributed to a pessimistic view of the world. The world was not a scene of action but a place of sombre inevitability. This attitude, virtually a cultural predisposition, grew larger in isolation.”
Tragically, Ciccimarra’s life and career were cut short when he passed away in 1973. His works, cherished for their emotional intensity and expressive quality, continue to be celebrated and exhibited posthumously. Held in various public and private collections, they serve as a lasting reminder of his artistic talent and vision.
ABOVE IMAGES:
Richard Ciccimarra, Lying Figure, 1962, Gouache and ink on paper, 18 x 18 in.
Richard Ciccimarra with Easel 1971. Photographed by Karl Spreitz. Image courtesy of the Collection of Karl Spreitz.
Richard Ciccimarra, Untitled (Two Seated Figures), 1973, Graphite and wash on paper, 13.25 x 16.25 in.
Richard Ciccimarra, Untitled (Men Wearing Ties), 1973, Conte and wash on paper, 11 x 14 in.
Richard Ciccimarra, In Light and Darkness, 1962, Mixed media on paper, 20.5 x 22.5 in.
Maxwell Bennet Bates was Canada’s premier Expressionist artist of the mid-20th century, who also had a tremendous impact on Paul, he considers Bates to have been one of his most important mentors.
In the final years of Bates’ life in Victoria, Paul became his dealer and spent much time with him, some through the most difficult days after Bates’ final stroke in 1980.
Bates was “an exceedingly rare Western Canadian painter who looked to advance European modernism as early as the mid 1920’s for inspiration and stimuli.” Writes Nancy Townshend, historical researcher writer and curator.
Born in Calgary, Alberta, in 1906, his journey into the world of art was as tumultuous as it was remarkable. His early life was characterized by an innate passion for art, leading him to pursue studies in architecture. Bates initially pursued a career in architecture with his father William Stanley Bates. However, his artistic trajectory took a dramatic turn in 1931 when he moved to England, at the outbreak of World War II and joined the British Expeditionary Force. In 1946, Bates returned to Calgary and joined his father’s architectural firm after being a prisoner of war for five years in Thuringia, Germany.
This harrowing experience profoundly influenced his outlook on life and art, infusing his work with a depth and complexity that spoke to the darker aspects of the human experience.
After his return to Canada post-World War II, Bates fully immersed himself in his artistic pursuits. His works during this period reflected a transition from his architectural background to a more expressionistic approach in painting. Bates's paintings often featured distorted forms, bold colours, and a dynamic interplay of light and shadow, capturing the emotional turmoil and existential angst of his subjects.
This shift in style was not only a reflection of his personal experiences during the war but also an exploration of the broader human condition. His art became a medium through which he sought to understand and depict the complexities of human emotions and experiences.
In 1949, Bates temporarily moved the New York and studied with Max Beckmann and Abraham Rattner. Bates’ experiences and his continued exploration of his artistic vision made him an influential figure and teacher. In 1962, Bates moved to Saanich, BC after suffering a stroke. In 1971, after meeting like-minded artists in Victoria, formed the Limners Society. Bates was awarded Order of Canada in 1980, shortly before his final stroke. He passed away in Victoria at the age of 74.
ABOVE IMAGES:
Maxwell Bates with his painting Kindergarten c. 1975. Photographed by Karl Spreitz. Image courtesy of the Collection of Karl Spreitz';
Maxwell Bates, Untitled - Children, 1948, Watercolour on paper, 17 x 20 in.
Maxwell Bates, Classical Ball, 1974, Watercolour on paper, 14 x 19.5 in.
Maxwell Bates, At the Tavern, 1974, Watercolour and ink on paper, 19.8 x 14 in.
Maxwell Bates, Clowns, 1973, Oil on board, 20 x 16 in.
The origins of the Limners traces back to the 1960s when a group of artists began gathering to share ideas, which formed a close-knit friendship. These informal gatherings laid the foundation for what would officially become the Limners Society in 1971, a group that would continue until its dissolution in 2008.
The collective, which included painters, ceramicist, sculptors, and other visual artists, emerged as a significant force in the Canadian art scene, particularly in vitalizing the artistic atmosphere of Victoria into a more progressive and contemporary space.
Their commitment extended beyond the creation of art, as they actively engaged in organizing exhibitions, workshops, and events that promoted art and supported local artists.
The foundation of the Limners was driven by the desire to provide artistic, material, and moral support to its members, fostering a collegial and nurturing environment for artists in Victoria.
Key founding members included Maxwell Bates, the first president of the collective until 1980, a Canadian painter and architect whose experiences as a prisoner of war during World War II deeply influenced his exploration of the human condition; Richard Ciccimarra, an Austrian-born artist known for his expressionist works imbued with emotional and psychological depth; Herbert Siebner, a German-born Canadian painter and printmaker recognized for his symbolic and mythological elements; Karl Spreitz, a photographer and filmmaker who documented the group's activities; Elza Mayhew, renowned for her large-scale abstract sculptures; and Myfanwy Pavelic, a portrait artist famed for her intimate and revealing portraits of notable figures such as violinist Yehudi Menuhin and Prime Minister Pierre Trudeau. Other members include Nita Forrest, Robert de Castro, and Robin Skelton.
The group later expanded to include others like Walter Dexter, Colin Graham, Helga Grove, Pat Martin Bates, Jan Grove, Leroy Jensen, Nikola Pavelic, Carole Sabiston, Sylvia Skelton, and Jack Wilkinson.
The international background of many of its members, who brought with them diverse perspectives and training from Europe and other parts of Canada was instrumental in enriching the collective and augmenting Victoria's art scene, especially considering its relative geographical isolation.
The “Limners” is a nod to the medieval guild of artists, consisting largely of traveling journeyman painters without formal recognition. The name reflected the group’s spirit of collaboration and artistic journeying.
The choice of this name by the group might reflect a focus on art for art's sake, or perhaps a nod to their role as modern-day storytellers and chroniclers. Unlike many other artist collectives, the Limners did not adhere to a specific manifesto. Instead, their bond was primarily a human experience, a “depth exploration of the human creature”, as Robin Skelton wrote in his book, a pursuit that transcends stylistic or genre limitation.
ABOVE IMAGES:
Limners and Friends. Photographed by Karl Spreitz. Image courtesy of the Collection of Karl Spreitz;
Myfanwy Spencer Pavelic and Robin Skelton at the Inaugural Limners Exhibition ca. 1972. Image courtesy of the University of Victoria Special Collections;
Victoria Art Gallery Volunteers at Inaugural Limners Exhibition ca. 1972. Image courtesy of the University of Victoria Special Collections;
Maxwell Bates at Skelton Party 1971. Photographed by Karl Spreitz. Image courtesy of the Collection of Karl Spreitz.
We are always actively seeking Richard Ciccimarra and Maxwell Bates works, please share with us which works you have and which works you have encountered over the years. Please also don’t hesitate to inquire about the above mentioned works. We look forward to hearing from you.
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