February 21st 2004 — February 21st 2014
It was ten years ago today that Guido Molinari abandoned his mortal state.
It has been ten years since anyone has seen him haunting a vernissage. But all the while his presence has been felt, rather like a welcome, benevolent ghost, as always “fundamentally free”, to quote the legend appearing beneath a rather sad image in the February 23rd 2004 edition of Le Devoir, bottom left of the front page.
A few days ago, several of us who attended the “national commemoration celebration” for Fernand Leduc, strongly felt that his old friend from among the Plasticiens, would have certainly deserved similar treatment.
But, in any case, “Moli” remained, to all those who approached him, the “theoretician of molinarism”, as he humorously defined himself in 1954. And sixty years later, it is easier to understand that this was not a mere school of painting among others, but rather the key to a full life, only a part of which was being an artist. Simply and clearly.
The Guido Molinari Foundation, the structure of which the artist settled shortly before his death, can therefore be counted upon to come to the defense of this worshipper of colour – an enthusiast of Mondrian and Mallarmé, of Pollock and Barnett Newman, and (closer to us) of John Lyman. François-Marc Gagnon, one of our most prominent art historians, wrote after visiting the artist, already much-diminished by illness, in “his bank”: “Bereft of almost everything, Molinari kept his enthusiasm for painting. I had never before felt in anyone such a near-religious fervour for works of art or, as Nietzsche put it, the “intoxicating nature of art”.
Gilles Daigneault, Executive Director, Guido Molinari Foundation
* © Richard-Max Tremblay, Guido Molinari, 1987