This work showcases the rich impasto and vibrant, flamboyant colour palette that Marcelle Ferron perfected at the turn of the 1970s. Having devoted her entire practice to stained-glass work since 1966, she returned briefly to painting in 1973, when she produced a number of oil-on-canvas works of various sizes. These were followed by a series of works on paper in a period that lasted until 1978. Ferron’s fascination with the brightness and luminosity of glass is obvious in the first group of canvases, with their mirroring and transparent effects that so closely resemble the colouration of stained glass. A botanical universe seems to flow through these smaller formats, produced in series with the same commanding power as her larger works. This painting embodies the essence of the pictorial concerns that came to characterize Ferron’s work: gesture, rhythm, and light.
Marcelle Ferron occupied an enviable place within the Automatistes movement, adding her voice to the Refus global manifesto in 1948. In so doing, she cemented her place in the lineage of women painters, along with Joan Mitchell and Lee Krasner, who defied the patriarchal world of abstract painting, and positioned herself as a key figure emblematic of Modernity in Quebec. In 1961, Ferron won the silver medal at the São Paulo Biennale. In 1972, she was appointed a member of the Royal Canadian Academy of Arts, and in 1983, she received the prestigious Prix Paul‑Émile‑Borduas. Over the course of her career, she took part in several important group exhibitions in Canada and abroad, and the Musée d’art contemporain de Montréal has honoured her work with two retrospectives: Marcelle Ferron from 1945 to 1970, in 1970, and again in 2000 with Marcelle Ferron, a retrospective 1945‑1997.