W t I I I: 20 ' “Al I Hi ()1 J (JIRUNICIE ' Wednesday. idling!) J,‘ Jul!) I i“ ‘\" _ ' ’“ i ,:"=3‘"'â€") _-i L . v â€a I ; 33‘ ‘ > M Vina-cw , M»Mwâ€"â€"â€"~t-M i , . C O I C , I ; New book provides msrghts into the mind of one of area s most celebrated artists l i BY BOBVRBAMK: artist. called Woldemar Neufeld's (Ianada. , -~ j _ Chronicle Staff they wondered what hadn't already been i said about him, They Wen: asked for 30,000 . .-. . - ,. , j r; s experts on Mennonite am'st Woldemar words. but Paul thought they could only ' v "I". f. ‘-' 7' "_ . > W A Neufeld, authors Paul Tiessen and his manage 10.000 treading over such familiar in? V . I f . ,_ W ' 1 ft: llildi Home 'I‘iessen wondered how ground. ff". *3? M. .» “ ’5 L they could update the story about the world That was before they found a rich vein of ~» .5“. 37:» f '7‘: A _-; ‘ : renowned painter for a new book being mmr personal correspondence that Neufeld had 1 "3“ M ‘ h ' â€"~. .. \ ‘ h, josh-1’7. i missioned about him. With family and acquaintances across Cana- ' ",- ‘ a s . {:1 W325; t Paul. a professor of English and ï¬lm stud- da and the US. it infused their research with \ t _ k- , l ies at Wilfrid laurier University, and llildi. a some major new insights about Neufeld. g ' V‘ . , A { professor of English at Conrad (irebel (lol- especially about his time spent in Waterloo , "R ’ »â€"L,\ ' ' ‘ 1 lege at the University of Waterloo. had after his family arrived here fleeing from the ', . a - already written one of the deï¬nitive works Russian Revolution. i. ‘ :- .. " l about the former local artist. Their 1982 “We soon found that even 30.000 words ' I § ‘ _ “‘I ‘_ . [ work called Waterloo Portfolio: Woldemar wouldn't be enough," said Paul Tiessen. ' s‘) ' ' Neufeld's Paintings and Block~prints of before a special book signing of their latest s. I. _ . I I. / Waterloo captured an important time in the work last weekend at the Gallery on the - â€"- F _ (if 1;:Qe‘gt. g _," artist’s life and demonstrated how the local Grand, “7-. gr: . 9'! . ‘, f. -“" » _ ‘ area was a major inspiration for him before ' It is one ofthe local galleries that features V57 1: "-3“ Eric, l. a - , ' he passed away in 2002. Woldemar's Waterloo period, one of four ‘ :3 5' cry} But when they were approached again to major periods the artist explored in his long . :“ if . \ i be contributors to the latest book about the painting career, Another major collection is , Q» ‘ ,n- ; ‘ j ,, ‘ \ H: ‘ ‘0 1 held at the Woldemar Neufeld Gallery at _ jig; ' . . fl .5; 1' I“; . g: 1'" WM) featuring3000fhis works. ‘ ' ,5 _. , J a, â€Km V1?" \ - “I think the attraction is that this is an ’ - 4.35sâ€" ; “:54 _f" " \ if? ’ " a i artist ofa significant achievement who w" _ "â€"â€" " ~ « ‘ l . ' .. 1 ’ . ii . makes Waterloo one of the perhaps four or Woldemar Neufeld’s In the Midst of Life was representative of the dichotomy that the local ’ h ‘1 ï¬ve major points of his representational artist tried to capture during his Waterloo years, of the natural world touched by hints of 1 k . 1; work.†said Tiessen, about the artist who humanity' mrocomtrtsvotwtu was ;- . f" l ‘ “:33 would have celebrated his 100th birthday , ‘ ' ‘ . if “a; last year. “The others would be New York, devoid of any human infringements ilis Pennsylvania Dutch, who had originally setâ€" V _ r". - Cleveland and New itrigland, especially work was quite the opposite. hinting at the tled in this area. And theWaterloo region has "v *" . . ’3 9†around the area he lived in Connecticut people that were shaping that landscape. served as a springboard for those types of . ‘ “He felt comfortable working in an area A perfect example is his oil on canvas artists. thinkers and writers including Roger i where there were people he could under» called in the Midst of Life produced in l939 Martin ofthe University ofToronto's Rotman stand and with who he could connect to. as the senior project for the art school he School of Management, “'lhat's what was so important to him r was studying at in Cleveland. in the back "There is no question ofthe vast prepon- he loved to connect within the world he ground of a gnarled old tree that fills the derance of the 300 images reproduced in the »- immersed himself, And to understand his 30 it 40 canvas are neat rows of a cornfield work are from here," said 'l‘iessen, many of / . art in terms of that connection. and under With the barn peeking out in the but k them capturing aspects ofWaterloo life that I stand that connection in terms of his art. It ground. no longer exist. “it's the place he understood A ' seems to me the dynamic ofconimunity and "He wanted the community to see that and to which be responded very magnanir g V .. what community can build was very much a world afresh," said 'l‘iessen. “He used those mously and very deeply." . J ' part of the process about how we under words and above all he wanted to make Woldemar Neufeld's Canada is published ' stood his art." people feel, hear and see as if for the ï¬rst by Wilfrid Laurier University Press and A contemporary of the (iroup of Seven, time.“ signed copies are available at Gallery at the Pm" Paul “asâ€, Neufeld rejected their strict adherence to the He also represented a Mennonite inielli Grand, 580 Lancaster St. W,. or by Calling landscape portraiture and natural settings gentsia that broke with the perception of the 519-884-0575 S;UCO"\)J SOUP?» sauce» sauces» Soucolly 50‘):st 'Chfoiy’ SOUCC‘Q)’ SOUCOEy’ SCUCCIWJ AI IENTION GOLFERS' , r"""‘"1 - RUNNERS . “- . 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