A preliminary drawing FitzGerald produced in late 1953 as Study for Autumn Sonata, based upon the wafting motion of falling leaves, was squared for transfer to the Masonite support of Autumn Sonata.
This method not only allowed him to approximate the kind of detailed brushwork he used in his final oil paintings but also produced the tonal modulations within forms that he hoped to capture in the finished work. This was likely discussed between the artists when FitzGerald visited Toronto in July 1953 as a jury member for the Canadian National Exhibition.ĭuring the 1950s, FitzGerald had returned in his abstract drawings to the technique he had perfected in the 1940s of massing small dots and flecks of ink together like so many magnetized iron filings. FitzGerald painted two pictures, Autumn Sonata and April Rhythm, c. 1954, and allowed Brooker to select the one he wanted. Lionel LeMoine FitzGerald, Study for Autumn Sonata, November 18, 1953, ink and graphite on paper, 29.6 x 38.6 cm, School of Art Gallery, University of Manitoba, Winnipeg.įitzGerald’s move to abstraction so impressed Brooker that he commissioned his friend to create a major abstract painting for him.
Lionel LeMoine FitzGerald, April Rhythm, c. 1954, oil on Masonite, 60.8 x 76 cm, private collection. Art historian Brian Foss has argued that it was necessary for FitzGerald to pursue this path as an outcome of his intellectual and spiritual development: “The too-obsessive capturing on paper or canvas of the minutiae of the physical world risked depriving his art of the quasi-mystical analysis that it was intended to promote.” Brooker’s art immediately changed from the abstract to the figurative upon seeing FitzGerald’s work in the late 1920s, and FitzGerald moved in the opposite direction some twenty years later when he turned to abstraction during the final phase of his career. The relationship was one of mutual support, admiration, and, sometimes, influence. It was the beginning of a lifelong friendship marked by a spirited exchange of correspondence. The painting’s title, which evokes wafting leaves in autumn set to a musical sonata, was likely given by the Toronto artist Bertram Brooker (1888–1955).įitzGerald first met Brooker in Winnipeg during the summer of 1929. Nature could be expressed simply by colours and shapes. The gentle rhythm, balance, and movement of forms in Autumn Sonata mark the type of abstraction that interested FitzGerald late in his career. School of Art Gallery, University of Manitoba, Winnipeg Tickets R120-R260 from webtickets.Lionel LeMoine FitzGerald, Autumn Sonata, 1953–54 With supporting performances by Veranda Panda, Black Lapels and the Freddie L band, it’s an afternoon of family friendly vibes with food, bar and kiddies play area. The Manor House, Salt Rock: (today) Fresh from a European tour and before they leave for a tour to the US, the Ndlovu Youth Choir will thrill audiences with their vibrant, energetic world-class performance. The Ndlovu Youth Choir will enchant in concert in Ballito today. Directed by Bryan Hiles and performed by Cara Roberts and Mpilo Nzimande. The Flame in The Snow shows the hidden affair between two of South Africa’s most prolific writers in the letters of Andre Brink and Ingrid Jonker. Yesterday’s Hero stars Patrick Kenny as a hapless soap opera doctor who accidentally kills a local crime boss. A Vegan Killed My Marriage is written and directed by Craig Friemond and stars comedian Aaron Mcilroy. The Adventure of Who is a magical quest through a mystical land, written and performed by Kaylee Mcilroy. The Great Big Enormous Turnip is a wild 40-minute romp through the deep dark woods starring Bryan Hiles and Cara Roberts. Tickets R220 from webtickets.īridge Theatre, Northlands: The 031 Theatre Festival features five local productions that are performing at this year’s National Arts Festival in Makhanda. Playhouse Opera: The Durban Top Comedy Show is hosted by Nonto R, supported by Sifiso Nene, Mondli Mzizi, Dawn Thandeka King, Churchboy, MakaThah, Q Dube, Tsoro, Gogo and Silwane from eSwatini.
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