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Watercolour and ink,
c. 1960, 18 x 12 in,
45.72 x 30.48 cm |
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Alexandra Luke
Born in Ottawa, 1926 – 2006
Margaret
Alexandra Luke was born in Montreal. Luke's development as a pioneering abstract painter
was considerably delayed by family responsibilities. Trained as a nurse in Washington, DC,
by 1930 she had become a wife, a widow, the mother of a son, a wife again (to Clarence
Ewart McLaughlin of the McLaughlin Carriage Company family), and mother of a daughter.
Largely
self-taught at first, her early works were relatively conventional paintings reflecting an
interest in the Group of Seven. In 1944 painter Caven Atkins advised her to move beyond
their influence. Luke's first formal training was at the Banff School of Fine Arts (1945),
where her instructors included Jock MacDonald, who probably introduced her to automatism
and the writings of Petr Ouspensky. Later she became intensely involved with the work of
Ouspensky's teacher, Armenian mystic George Gurdjieff.
Encouraged
by the Canadian artist Joseph Plaskett, Luke studied with the German-American
painter/teacher, Hans Hofmann, in Provincetown, Rhode Island, at various times from 1947
through 1954. Hofmann provided theory of the medium and confirmed for her that art is a
positive force with spiritual value. In turn, Luke encouraged Macdonald and William Ronald
to study with Hofmann.
In 1947, Luke began doing "automatic" paintings and was included in the Canadian
Women Artists exhibition at the Riverside Museum in New York. She did not have her
first commercial-gallery solo show (at Douglas Duncan's Picture Loan Society) until 1952,
the year she organized the ground-breaking Canadian Abstract Exhibition. Luke was
in the Abstracts at Home exhibition (1953) at Simpsons department store that led to
the creation of Painters Eleven, organized at her summer home at Thickson's Point, Ont.
She regularly exhibited with them in Montreal, New York and elsewhere until the group
dissolved in 1960.
Luke's
best works (such as Yellow Space, 1961), exemplify her aim to use colour
intuitively, to make painting a "universal language", an art "as pure...as
music" that would "continue searching forever".
Suggested Reading: Jennifer Watson, Alexandra Luke: A Tribute (1977); Joan Murray, Alexandra Luke: Continued Searching (1987); Margaret Rodgers, Locating Alexandra (1995).
Author: Ken Carpenter
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