Reference: Richard Calver trained with Sybil Andrews for lino block printing and was represnted by Mayberry Fine Art, Winnipeg and Pegasus Gallery, Salt Spring Island

Reference: represented by Bau-Xi Gallery, Toronto and Vancouver; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: for more biographical information and examples of work see artist's website at josephcapicottofineart.com

Reference: see The Book of Small, by E.Carr, Clarke Irwin, 1951; Pause, a Sketch Book, by E.Carr, Clarke Irwin, 1953; Hundreds and Thousands, the Journals of Emily Carr, ed. I.Dilworth, Clarke Irwin, 1966; Emily Carr, by D.Shadbolt, VAG, 1971; Watercolours and Drawings of Emily Carr, by D. Shadbolt, Art Gallery of Greater Victoria, 1977; Emily Carr, a biography, by M.Tippett, Oxford University Press, 1979; The Art of Emily Carr, by D.Shadbolt, Clarke, Irwin, 1979; Emily Carr, by D.Shadbolt, Douglas & McIntyre,1990; Emily Carr: New Perspectives on a Canadian Icon, by National Gallery of Canada, Vancouver Art Gallery, 2006; A.G.O., by the A.G.O., pg.60 and N.G.C. Vol.1, A-F, ed.C.Hill, pg.172

Reference: for more biographical information and examples of work see gallery website at koymangalleries.com/artist/horace-champagne/#bio

see biographies in
Dict. of Canadian Artists, by C.MacDonald, Vol.1 addendum
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.62, Westbridge Pub., 1999;
Guide Vallee, III Edition, by F.Vallee, pg.301, pub. Le Guide Vallee, 1992;
Allgemeines Kunstler-Lexikon, Band 18, pg. 139, K.G. Saur Verlag Munchen-Leipzig, 1983-2009

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: for more biographical information and examples of work see artist's website at www.rodcharlesworth.com

biography and other example in
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.63, Westbridge Pub., 1999;
Magazin'Art Biennial Guide 1998-1999, by Editart, pg.254, Magazin'Art, 1998;
Artists of the Okanagan, by J.Davis, pg.73, Okanagan Mainline Seniors Writers, 1988

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: see
Alan Caswell Collier, Of Man and Nature, by Doren Martin, Ottawa Art Gallery, 1998;
An Artist's Journey - Alan Collier, R.C.A. in 1991

biography and other examples in
N.G.C. Vol.1, A-F, ed.C.Hill, pg.200 for paintings in the N.G.C.;
Dict. Of Canadian Artists, by C.MacDonald, Vol.1 pg.135;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.69, Westbridge Pub., 1999;
Allgemeines Kunstler-Lexikon, Band 20, pg. 298, K.G. Saur Verlag Munchen-Leipzig, 1983-2009

Reference: author of Artists at War, by C.Comfort, Ryerson Press,1956; see Charles Fraser Comfort, Fifty Years, by P.Glover, Winnipeg Art Gallery, 1972; Take Comfort, the Career of Charles Comfort, by MJ Hughes, Winnipeg Art Gallery, 2007; biographies and other examples in N.G.C. Vol.1, A-F, ed.C.Hill, pg.208 and A.G.O., by the A.G.O., pg.76; biographies in Dict. of Canadian Artists, by C.MacDonald, Vol.1, pg.140; Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.71, Westbridge Pub., 1999; exhibition list in R.C.A.A., by E.McMann, pg.79; biography in Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, by E.Benezit, Tome 2, pg. 596

Reference: see Cosgrove, by J.Bazin, Collection Signatures, 1980; N.G.C. Vol.1, A-F, ed.C.Hill, pg.213; A.G.O, by the A.G.O., pg.81; Dict. of Canadian Artists - Vol.1, by C.MacDonald, pg.145 and Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.73, Westbridge Pub., 1999 for biographies; exhibition list in R.C.A.A., pg.83 and M.M.F.A., by E.McMann, pg.82

Reference: Cowin was born in Indianapolis, Indiana. He entered Indiana University with an eye on a career as a medical illustrator. Later transferring to fine arts and specializing in printmaking, he completed his BFA in 1969 and received his MFA from the University of Illinois in 1971. He then accepted a position in the Fine Arts Dept. at the University of Regina, teaching for 36 years, retiring in 2007.

for more biographical information and examples of his work see gallery website at www.slategallery.ca/jack-cowin;

see Country Pleasures, The Angling Art of Jack Cowin, by A.Oko, Fifth House, 1984 and

biography and other examples in N.G.C. Vol.1, A-F, ed.C.Hill, pg.222; Biographical Dict. of Saskatchewan Artists - Men, by M.Newman, pg.55, Fifth House Pub., 1994;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.75, Westbridge Pub., 1999

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: Looking West, a Ten Year Retrospective of Patrick Cox's Work, was held at the Glenbow Museum, Calgary in 1994; The High Realism of Patrick Douglass Cox, by C.Jackson, Masters Gallery, 2002; biography in Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.76, Westbridge Pub., 1999; represented by Masters Gallery, Calgary

Reference: Chris Cran has been described in The New York Times as a painter who '..has built a career on tampering with people’s perceptions.' Widely exhibited across Canada and internationally recognized, Cran has become known for turning nothing into something, with the slightest push. Cran’s paintings, included in numerous Canadian collections, involve a variety of visual tricks, where images may appear one way but have been made in unexpected ways.

Born in Ocean Falls, British Columbia, Cran studied art at the Kootenay School of Art in Nelson, British Columbia in 1976 and graduated from the Alberta College of Art and Design [now Alberta University of the Arts] in 1979, where he also taught art for many years. Cran's paintings exhibit a long-standing interest in the relationship between representation and abstraction, as well as photography and painting.

Through his work as an artist, mentor and educator, Cran has inspired generations of artists while making a lasting impact on Alberta's creative community. In 2026, he was appointed to the Order of Canada, one of the country's highest civilian honours. Cran's work has been reviewed by The New York Times, Canadian Art Magazine, and The Globe and Mail among many others. Cran’s work is found in numerous private and public collections including the National Gallery of Canada, the Glenbow Museum, the Nickle Arts Museum, and the Art Gallery of Alberta. Chris Cran is represented by TrépanierBaer Gallery in Calgary, Clint Roenisch Gallery in Toronto, and Wilding Cran Gallery in Los Angeles.

see artist's website at chriscran.com; see Heads, various, University of Lethbridge Art Gallery, 1992; Chris Cran Paintings: 1993-1996, by N. Tousley, Art Gallery of Peel, 1996; Chris Cran, by J.Drouin-Brisebois, R.Doherty, B.McCulloch, N.Tousley and W.Wood, National Gallery of Canada, 2016; biography and other examples in A Measure of Success: Graduates of the Alberta College of Art 1963-1984, by V.Greenfield, A.C.A.D., 1985 and Contemporary '88 Calgary, by M.B.Laviolette, pg.56, Olympic Arts Festival, 1988; see Allgemeines Kunstler-Lexikon, Band 22, pg. 167, K.G. Saur Verlag Munchen-Leipzig, 1983-2009; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: biography and other examples in
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.77, Westbridge Pub., 1999;
Allgemeines Kunstler-Lexikon, Band 22, pg. 380, K.G. Saur Verlag Munchen-Leipzig, 1983-2009

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: biography and other examples in
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.77, Westbridge Pub., 1999;
Allgemeines Kunstler-Lexikon, Band 22, pg. 380, K.G. Saur Verlag Munchen-Leipzig, 1983-2009

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: Dallaire was born in Quebec, raised in Alberta and taught in Vancouver.

see
Sahara Foam to Bronze: A Revolutionary Medium and Techniques for the Modern Sculptor, by Jean-Guy Dallaire, published by Blurb, 2015;
The Language of Stones, by Jean-Guy Dallaire, published by Blurb, 2015;
Wreck Beach Originals: Small Bronze Sculptures Inspired by Stones, Pebbles and Concretions, by Jean-Guy Dallaire, published by Blurb, 2015

biography and other examples in Dictionnaire des auteurs et artistes francophones de l'Ouest

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: Jeff de Boer is a Calgary-based multi-media artist with a distinctive practice in metalwork. His practice initially took inspiration from his father’s profession as a tinsmith, which was followed by his first suit of armour made while still in high school. Subsequently this multi-faceted artist has earned an international reputation for his public artworks. In addition, his work includes playful museum-quality suits of armour for cats and mice, as well as other objects including: armour ties for executives, space art and an abstract series titled Exoforms, based on primitive life forms.

In 1988, de Boer graduated from Alberta College of Art + Design (now Alberta University of the Arts), where he majored in jewellery design. A year later, he established himself as a professional artist with the ability to craft armour in Tudor, Mongolian and Samurai styles. In 1994, de Boer presented 140 works in a solo exhibition titled Articulation (Muttart Gallery, Calgary AB) which travelled for two years around western Canada. On a much larger and even monumental scale are de Boer’s public works, including such works as a barbed wire bucking bronco (Glenbow Museum, Calgary, AB), kinetic wind-up tin toys (Calgary International Airport) and sculptures incorporating LED technologies.

For many years he instructed in the Jewellery Department at AUArts. The artist founded The League of Extraordinary Makers (LEXM) Guild, a collaborative organization of like-minded individuals who have a mission to change culture through art, industry, and technology.

for more biographical information and examples of work see artist's website at jeffdeboer.com; represented by Wallace Galleries, Calgary among others

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: author and publisher of Painting the Sea, Ships, Sheds Seagulls, by W. de Garthe, 1969; see De Garthe; His Life, Marine Art and Sculpture, by D.Pope, Lancelot Press, 1989; biography in Dict. of Canadian Artists, by C.MacDonald, Vol.1, pg.171; Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.86, Westbridge Pub., 1999

Reference: see
History in Their Blood; Indian Portraits of Nicholas de Grandmaison, by H.Dempsey, Douglas and McIntyre, 1982;
Drawn from the Past, Nicholas de Grandmaison, by Gordon Snyder, Snyder Fine Art, 2007

Dict. of Canadian Artists, by C.MacDonald, Vol.2 pg.305;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.87, Westbridge Pub., 1999

exhibition list in R.C.A.A., by E.McMann, pg.155

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: Paul deGroot moved to Canada at an early age from the Netherlands and is currently based in Calgary. He started art school at Kootenay College along with his good friend, Chris Cran. Both Paul and Chris moved to Calgary to finish their degrees at the Alberta College of Art (now the Alberta University of the Arts), graduating in 1979. Paul continued to work in his home studio and had his first solo show at the Herringer Kiss Gallery which was a critical and commercial success. His work has been purchased by the Alberta Foundation for the Arts and numerous private collections.

Paul’s current work is rooted in the photorealist genre, with certain elements hinting at painterly gestures. His paintings, completed in oil, are based on personal photographs, chosen intuitively, which are generally photoshopped or manipulated in some manner before translation to canvas. The subject matter consists of everyday urban scenes, such as buildings, street scenes, vehicles, figures, etc., that are often perceived as ordinary or unremarkable in themselves. Although mostly painted monochromatically, colour always plays an important role in the paintings. In some paintings, deGroot sets highly realistic elements, such as figures, statues, vehicles and buildings, within intense fields of colour. Some of deGroot’s paintings appear at a distance as highly realistic but as a viewer walks closer, the seemingly photographic image dissolves into subtle painterly abstraction.

Reference:

Reference: Mark Dicey Studio is located on the traditional territories of the Niitsitapi (Blackfoot) + the people of the Treaty 7 region in Southern Alberta, which includes the Siksika, the Piikuni, the Kainai, the Tsuut’ina, + the Iyarhe Nakoda First Nations. Calgary/Moh’kinsstis is also home to Métis Nation of Alberta, Region III.

Mark Dicey is a painter. His field of interest is in abstraction/nonrepresentational work. Studio work, reading and general consciousness of this chosen discipline (painting history and abstraction in particular) are on going and critical to his practice. The everyday world is absorbed and brought into the making and thinking process: colours, shapes, textures and structural relationships.

For Dicey, the reactionary relationship that takes place in the painting process is twofold:
1. the day to day observances (memory) are filtered, reconfigured and applied (consciously/unconsciously);
2. the interaction with what is taking place with the medium, assessing and pursuing what is evolving, observing, guiding, controlling, manipulating, questioning, confirming.

For Dicey, the work he makes and the creative process itself are states of flux and relational conversation. Knowledge of important painters who came before such as Hans Hoffman, Joan Mitchell, Helen Frankenthaller, Cy Twombly, Jack Bush and Marion Nicoll as well as living contemporary artists such as Mary Heilmann and Brice Marden (to only name a few) is of utmost importance to Dicey’s ongoing investigation, questioning and development.

for more biographical information [including statement above] and examples of work see artist's website at markdicey.ca; represented by norberghall.com in Calgary

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference:

Reference:

Reference:

Reference: During Duma's many years as a painter he participated in numerous one-man and group shows throughout Canada and abroad. His work is represented in many major public, corporate and private collections in Canada, USA and Europe such as The Alberta Foundation for the Arts, the Massey Foundation Ottawa, the BC Government Collection, Mendel Art Gallery, Saskatoon, Sask., Alberta House in England and Japan, the Nickel Arts Museum, Edmonton Art Gallery, University of Alberta and the Glenbow Museum.

biography and other examples in
Founders of the A.C.A. by L.Greenfield, pg.79;
Shell Canada Collection, by B.Shammas, pg.12, Shell Canada, Calgary, 1977;
Alberta Society of Artists, the First Seventy Five Years, by K.Zimon, pg.90, UofC Press;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.98, Westbridge Pub., 1999

Reference: for more biographical information and examples of work see artist's website at robindupont.com

Reference: listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website; represented by Collectors' Gallery, Calgary and Bugera Matheson Art Gallery, Edmonton; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: see
Beauty Pageant - Paintings by Maureen Enns, by E.Brown, Peter Whyte Museum, 1984;
Maureen Enns: Back of Beyond, by D.McAlear, Nickle Arts Museum, 1988;
Enns, Evans and Ulrich, Walter J. Phillips Gallery/SAAG, 1977

biography and other examples in
Alberta Art, Works from the A.A.F., by L.Schmidt
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg.105, Westbridge Pub., 1999

exhibition list in R.C.A.A., by E.McMann, pg.117

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, see website at Canadian Heritage Information Network [CHIN]

Reference: John Kenneth (J.K.) Esler was born in 1933 in Pilot Mound, Manitoba and attended the School of Art at the University of Manitoba, graduating in 1960. He continued studies there, receiving a Bachelor of Education degree in 1962, and in 1964, after a period of travel in Europe, took a teaching position at the Alberta College of Art and Design (now Alberta University of the Arts) in Calgary. He joined the faculty of the University of Calgary in 1968 where he taught intaglio printmaking, staying there until his retirement in the 1980s. Esler was well-known in the Calgary arts community, and did much to raise the profile of printmaking in the province. He played a major role in the expansion of the printmaking departments at AUArts and at the University of Calgary. Esler's works have been exhibited widely throughout Canada and abroad and he is represented in many public and private collections. His awards included the C.W. Jefferys' Award from the Canadian Society of Graphic Arts and the G.A. Reid Memorial Award from the Canadian Painter-Etchers and Engravers.

John Kenneth Esler had an irreverent, somewhat Dadaist sensibility which he expressed in his art and in his teaching methods. He encouraged his students to experiment, and to make art with a mind open to unexpected possibilities.

see 35 Years and 15 Minutes, prints by John Kenneth Esler, by S.Ford, Nickle Arts Museum, 1994;

biography and other examples in
Founders of the A.C.A., by V.Greenfield, pg.80;
Printmaking in Alberta 1945-1985, by B.Cochran, pg.66-69;
N.G.C. Vol.1, A-F, ed.C.Hill, pg.300; Dict. Of Canadian Artists, by C.MacDonald, Vol.1 pg.192;
Collector's Dictionary of Canadian Artists at Auction, by A.Westbridge, Vol.1, pg. 106, Westbridge Pub., 1999;
Manitoba Society of Artists by J.Stoppler, pg.158, the Manitoba Society of Artists, 2003;
Allgemeines Kunstler-Lexikon, Band 35, pg. 65, K.G. Saur Verlag Munchen-Leipzig, 1983-2009

listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website

Reference: see Equus Caballus, Equine Works by Jane Everett, by Gayle Liman,Kelowna Museum, 2007; listed on Artists in Canada, a Union List of Artists' Files, by National Gallery of Canada Library et al, Canadian Heritage Information Network [CHIN] website