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(Continued from page 4) Zoir strives for creation of thought, rather than for mere importance of passing sentiment or preoccupation with beautiful shadings of light., ttl stands subordinate to form and that to a certain extent with Zoir lines are a means to expression. Zoir shows his ability to strike a color chord whose originality is unquestionable. His Trueifixion' is a case in point. Here Zoir has in beautifie line and touching simplicity painted the well. known tragic story' of Christ from 'Gethsemane' to 'The Entombment.' The central "panel of this triptychon, 'c'rueifixion' is a moterpieee,--ex- hnles the pure, austere odor of relig- ious poetry. It concedes from the critic, no less than the layman ob- server, that claim to admiration and sympathety difficult to express in wards. "It has been said that Emile Zoir despises colors, but this is untrue when one contemplates his canvases. I namit that color with Zoir in gener- "The psychological atmosphere wherein Zoir's figures move is often sombre, and he is at his greatest, perhaps, in the depiction of melan- choly. His other great triphychon, 'Misern'--a composition entirely de- pendent upon lines of color, creates inevitably the feelings of sorrow and gloom which even the ordinary ob- server feels and is able to share through experience. It proves dis- tinctly the artist's deep sympathy with life, where every phase gives him perception of the hidden sources. And as these are often only percept- ible to the onlooker through a slight ripple on the surface of events; a ftssting shadow, so does Zoir likewise reveal by a line swift and pure the possibilities behind the situations he portrays. _ ITALIAN CRITIC His "Creation" "The same may be said about his great cycle 'Creation.' Every thought which such a stupendously conceived series imparts belongs inevitably to the work itself. Therein lies one of Zoir’s merits. Nature, no less than art, can only show us what we are able to apprehend with our spiritual insight; everything comes, in a cer- tain respect, from ourselves. The art- ist possessing the creative power shows us, as in a looking-glass, the works of his genius reflecting life it- self, but translated from his view. point. Our own conception of any special work of art, on the other hand, depends upon the standpoint of our own conception. Zoir utilizes to the full this truth in his paintings noJess than his etchings. His works are works ot poetry, -rmelantsholy sometimes, but always grand; re- mindful always of the grandeur of human destiny despite its earth. bound experience. Zoir delves deep- ly into life, but never loses sight of its infinite rhythm.' While " great- er canvasses discern this idea of his profoundly, his Italian studies give us joy and color sud freshness of conception, placed on the csnvsss by a master's hsnd. Such, for instance, are his studies of Michelangelo's frescoes in the Sistine Chapel " Rome as well as his studies after Rsphsel snd Rembrandt. Possesse- luplntion "Emile Zoir undoubtedly possesses the inspiration which chm-uterine Thursday, March 27, 1980 COWDS 201R the great artist. During s period when humanity allows itself to be shaped in the some uniformly medi- ocre mould, it is I good sign that such an artist has sppesred, willing to rive his soul for his ideal. Take his etchings, for instance; it is not without reason that the art of eteh. ing is celled 'the diilicult art.' For in etching an original conception is vital, and great technical skill Ind experience absolutely predicsted. Only a master csn handle the etch- ing needle in such a way u to give results above medicority. On this basis Zoir’s etchings must be clused [Economfl DURABILI TY "ti';"',",,"; TH! PB!!! not one owner. has ever paid a cent for semce mtone owner. has ever paid a cent for semcc not one ownet has ever paid a cent for semcc not one omier.has ever paid a cent Jhiiiiiiiktii [ALL-STEEL REMI-BIIA'I‘OR Nt in nlwnyl interesting to pa- ueive the prom of mint. and capecillly .0 when that [onion in out of the ordinary. Emile lair pom- " a fund of poetical inspiration from which he pour: with 1.qu hand. Wew artist- nowuinyl have equalled Zoir'n impintion and power to tutrt for his faith in " Malt. And it wu JustiMble. His work: luv. I winging rhythm', in pone-nu a as superior to Anything in our mod. ern art. Every line therein than that Zair. the mute: etch“. poi-asa- en 1 soul mat in every sum of the word. Phone 3800 General Elm '-r-"rsrhGaiairGGia pamndydldlnchuh-uqu-unlb Iricnechnimianotlghdy-HIHMH 'mtiatur-tandtrmN.nkhe-t-rqs Conuopendo-hmuhuhmohy. Aadedtuhtmdmd.atthm-t--ei, minnow-autumn MollhhwhlyuquCo-Ih-Ino- "tmeei"tiur_--qmdutssiab- 'mr-si-lr-rt- VIC. J. KILLIAN, Inc. IRATIothimdl‘MddMM “WWT-m pehiy In Held-P! 19 North Sheridan Road intro-ordinary (unity for holding . composition W. M ho Maillo- the etching noodle with tho some mum-o ot liberty and pom and with the urn howitchiu MI“. on whom ho point; It - in A power yrttieh in ill-pint! moment. - in maale Wind And oomnundl 'Ut them be light: Emile fair in without com- poriuon the moot outstanding artist of'Europo. " Doctor W. In”. the “mom Got-mm critic up. 'he in .Tiunnrhouastol-tttehgmot ham and who can“ tro- tin Northland pouring out the rich poetry of MI myltic vinion'.”