• Bouquet printanier
  • Brunante rue Laval
  • Charme Vénitien
  • Contre-jour
  • Façade vénitienne
  • Intérieur aux fleurs
  • Le charme de Giverny
  • Lhiver en Estrie
  • Maison à Lucca
  • Première neige à West Brome
  • Rue Roy coin Saint-Denis
  • Rue Saint-Olivier
  • Rue St-Louis/d'Auteuil
  • Soleil de midi, Lisbonne (Portugal)
  • Tablée estivale
  • Temps doux, rue Salaberry (Québec)
  • Vieux Ste-Rose
  • Après-midi à Sutton
  • Bleu et or, Rougemont
  • Contre-jour aux fleurs
  • Couleur lavande
  • Jumelles, Paris
  • La Côte de la Montagne
  • La rue Peel
  • L'automne en folie
  • Le pichet d'argent
  • Le printemps pastel
  • Les Hauteurs de Baie Saint-Paul
  • Le temps des marguerites
  • Lundi matin, Venise
  • Promenade rue Laval
  • Reflets vénitiens
  • Rue Desjardins, Québec
  • Rues Buade et des Remparts
  • Soleil de midi
  • Soleil matinal, Québec
  • Tombée du jour - Rue Sainte-Geneviève - Québec
  • Vieux-Montréal sous la neige

TOUGAS, Pierre : 1949-

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During the evening, Pierre Tougas devotes several hours to planning an interesting composition working from a sketch. The next morning, he transcribes this composition onto paper with a pencil which is never more than five centimeters long, giving him more freedom of movement.

He has mastered the watercolour technique so well that, over the years, he became familiar with all the secrets and caprices of this art. He is obviously at ease with this medium. He works around the white spaces which he incorporates into the work at the end. He often uses oil brushes to obtain a special texture which cannot be achieved with watercolour brushes. He scatters drops of rain on a wall with a toothbrush or the end of his paint brush to give it a rugged look or to achieve a special effect. Sometimes, he uses a razor blade to give a particular texture to grass.

Like a musical director, Pierre Tougas applies his colour with large brush strokes. His body vibrates with inner fecling. Then, he dexterously adds more colour with jerky movements and small strokes. Shapes and colours appear, harmonize and combine. He expresses his emotions and his sensitivity. Everything is planned and well-ordered. The details are completed quickly. After this concert of shape, colour and mass moving in harmony and resonance, the finished work appears in all its splendour.

Although it is generally more difficult to personalize a watercolour, in Pierre Tougas' case, it is easy to recognize the hand of the artist. Because of his exigency towards aesthetic criteria, his only works on the market are of very high quality.