Levine Flexhaug

Peter White

Nancy Tousley

Join guest curator Nancy Tousley as she discusses the research undertaken with Peter White to produce the exhibition Levine Flexhaug, *A Sublime Vernacular: The Landscape Paintings*.

Three circular paintings of mountain landscapes hang in a horizontal line on a bright blue wall in a gallery. The landscapes appear to be duplicates but are subtly different.

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Talk

Join guest curator Peter White as he introduces the research and process undertaken with Nancy Tousley to produce the exhibition Levine Flexhaug, *A Sublime Vernacular: The Landscape Paintings*. 

The talk will be followed by a film screening of *Flexie! All the Same and All Different* at 7pm. This feature-length documentary was made in association with the exhibition by Calgary filmmakers Gary Burns and Donna Brunsdale.

Multiple, framed paintings of similar mountain landscapes in different sizes cover the walls of a gallery in a salon-style layout. Four vitrines in the center of the gallery display more. 

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*A Sublime Vernacular: The Landscape Paintings of Levine Flexhaug* offers the first overview of the extraordinary career of Levine Flexhaug (1918–1974), born in the Treelon area near Climax, Saskatchewan. The exhibition brings together approximately 450 of the artist’s paintings as well as several of his mural-sized works. An itinerant painter, he sold thousands of variations of essentially the same landscape painting in national parks, resorts, department stores and bars across western Canada from the late 1930s through the early 1960s. Whatever its variation, a Flexhaug image represents a Western icon, a silent unspoiled Eden that encapsulates the conventions of sublime landscape painting in a kind of painter’s shorthand. For the Contemporary Art Gallery it continues a strand in our programming where we present work by artists who for a variety of reasons, operated outside of the strict mainstream of the art world.

Long valued by a core of contemporary artists and collectors, Flexhaug turned formula painting into a source of wonder, not only because he churned out paintings so quickly using an assembly line method but because these works are so aesthetically compelling. Indeed, the lushness, variety, intensity, luminosity, touch and authentic feeling of his paintings are arguably non pareil in this genre. Interestingly, he hit upon the exact image that a poll taken by the Russian artists Komar and Melamid in the 1990s, determined is what Canadians most want to see in art.

As engaging as they are aesthetically, Flexhaug’s paintings also offer a point of entry for consideration of significant critical questions ranging from issues of taste, originality versus repetition in art, the appeal of landscape and its iconography – particularly in the Canadian context – to whether art can have integrity as art even if it is unapologetically commercial. Another issue raised by an examination of Flexhaug’s oeuvre is desire. Collecting is by its nature an activity with obsessive tendencies, but the numbers accumulated by those who collect Flexhaugs provide a particular opportunity to analyse aspects of the powerful emotional bonds that exist for many people with art and aesthetic objects. In the case of Flexhaug, more is always more.

Painting for Flexhaug was a way to make a living without having a regular job and he took great satisfaction in both supporting his family and satisfying his customers. Tracing his life from his early years in southern Saskatchewan through the byways of his peripatetic career following the Depression also provides a unique perspective from which to consider early modern Western Canadian social history, from aspects of identity to particular forms of consumption and leisure and recreation.

Alongside the exhibition, in our reading room we also present *Flexie! All the Same and All Different*, a feature-length documentary made in association with *A Sublime Vernacular: The Landscape Paintings of Levine Flexhaug* by Calgary filmmakers Gary Burns and Donna Brunsdale. The film not only tells the story of a little known artist but in its investigation of how people respond to the paintings and what they mean to them, is also a fascinating reflection on both the nature of art and the meaning of place.

Guest curated by Nancy Tousley and Peter White. 

In collaboration with MacKenzie Art Gallery, Regina; Illingworth Kerr Gallery, Calgary; Art Gallery of Grande Prairie, Alberta; and Rodman Hall Art Centre, St. Catherines. The exhibition is organized and circulated by the Art Gallery of Grande Prairie with support from the Museums Assistance Program of the Department of Canadian Heritage.



ProgramGuideSummer2017.pdf

A landscape painting depicting a lake and a waterfall framed by pine trees. There is a mountain in the background and a deer standing on colorful rocks to the right.

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Multiple framed paintings of similar mountain landscapes cover one wall of a gallery. An adjacent wall is painted bright blue and nine more landscape paintings hang. Four vitrines sit in the center.

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