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    Open a larger version of the following image in a popup: Dorothy Knowles, Bleak April, 1989
    Open a larger version of the following image in a popup: Dorothy Knowles, Bleak April, 1989
    Open a larger version of the following image in a popup: Dorothy Knowles, Bleak April, 1989
    Open a larger version of the following image in a popup: Dorothy Knowles, Bleak April, 1989
    Open a larger version of the following image in a popup: Dorothy Knowles, Bleak April, 1989
    Open a larger version of the following image in a popup: Dorothy Knowles, Bleak April, 1989
    Open a larger version of the following image in a popup: Dorothy Knowles, Bleak April, 1989
    Open a larger version of the following image in a popup: Dorothy Knowles, Bleak April, 1989

    Dorothy Knowles Canadian, 1927-2023

    Bleak April, 1989
    Acrylic and charcoal on canvas
    78 1/8 x 53 1/8 in.
    198.4 x 134.9 cm.
    Signed and dated verso

    Further images

    • (View a larger image of thumbnail 1 ) Dorothy Knowles, Grey Sky, 1986
    • (View a larger image of thumbnail 2 ) Dorothy Knowles, Grey Sky, 1986
    • (View a larger image of thumbnail 3 ) Dorothy Knowles, Grey Sky, 1986
    • (View a larger image of thumbnail 4 ) Dorothy Knowles, Grey Sky, 1986
    • (View a larger image of thumbnail 5 ) Dorothy Knowles, Grey Sky, 1986
    • (View a larger image of thumbnail 6 ) Dorothy Knowles, Grey Sky, 1986
    • (View a larger image of thumbnail 7 ) Dorothy Knowles, Grey Sky, 1986
    • (View a larger image of thumbnail 8 ) Dorothy Knowles, Grey Sky, 1986
    In Bleak April, a network of branches drifts across the picture plane. Slender trees extend across the foreground with a remarkable directness. Their trunks and branches present themselves almost frontally,...
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    In Bleak April, a network of branches drifts across the picture plane. Slender trees extend across the foreground with a remarkable directness. Their trunks and branches present themselves almost frontally, forming a delicate screen that neither separates nor obscures the view beyond. They occupy the same visual register as the mountains. A chain of rounded hills and the prairie riverbanks below gathers a waning orange light. Foreground and background remain deliberately unresolved; each advancing and receding by turns as the surface is organized through subtle shifts in hue and touch. Establishing intervals across the surface that bind the composition together, Knowles remains attentive to the character of the landscape, but observation is consistently shaped by painterly decisions.

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