Abstract

Oil on canvas
Signed lower left
32” x 46”
Private collection, Montreal

Abstraction No.29

Oil on masonite
Signed;signed and dated 1964 on reverse
32’ x 19”
Private collection, Montreal

SOLD

“Goteberg”

Gouache on paper
Signed, titled and dated ‘56
8” x 19 1/4”
Provenance: Private collection, Montreal

SOLD

Abstraction

Oil on canvas
Signed and dated ‘63 lower left
24” x 15”
Provenance: Private collection, Montreal

SOLD

Abstraction, 1959

Oil on canvas
Signed and dated 1959 lower right
Signed and dated on the reverse
36’ x 28 1/2”
Provenance: Private collection, Montreal by descent from the artist

During the late 1950s, Marcelle Ferron reached a decisive point in her artistic evolution, producing some of her most dynamic and lyrically abstract compositions. Having settled in Paris in 1953, she was deeply influenced by the European avant-garde while remaining rooted in the expressive freedom of the Automatistes movement led by Paul-Émile Borduas. Her paintings from this period reveal a powerful dialogue between light and structure — broad, confident gestures layered with translucent veils of colour that seem to pulse with energy. The palette often moved toward radiant whites, deep reds, and rich blues, with the paint applied in thick, tactile impastos that conveyed both strength and emotional intensity. These works signaled Ferron’s transition from the gestural abstraction of the 1940s to a more architectural handling of form and luminosity, anticipating the spatial brilliance that would later define her monumental glass works of the 1960s and beyond. Paintings from this period stand among her most sought-after creations, representing the maturity and confidence of one of Quebec’s most important modernists.

SOLD

Non titled

Oil on paper
Signed lower left
17” x 13 1/2”
Provenance: Private collection, Montreal

Created in the mid-1980s, this work on paper shows artist’s mature exploration of gesture, structure, and surface. Layered with sweeping strokes and textured passages in deep blacks, cool blues, and muted earth tones, the composition is anchored by a bold, enclosing form that both contains and energizes the central space. Characteristic of Ferron’s post–Automatiste period, the work balances spontaneity with a strong architectural presence, reflecting her continued interest in light, movement, and the materiality of paint.

Untitled, 1972

Oil on paper on board
Signed and dated ‘72 lower right
18” x 15”
Provenance: Private collection, Montreal

This expressive work by Marcelle Ferron, painted in 1972, captures the artist at a pivotal moment as she transitioned
from the spontaneity of Automatism toward a more structured yet equally dynamic visual language.
Rich passages of gold-toned ground are animated by sweeping gestures of deep blue, black,
and subtle accents of red, creating a powerful interplay between light and movement.
The composition balances raw energy with a growing sense of verticality and form,
reflecting Ferron’s increasing interest in luminosity and architectural presence—
qualities that would later define her celebrated glass installations.