Article 1, Centenary Exhibition. (Aug 09)
Article 2, Getting the Fuller Picture. (Sept 09)
Below are paintings or sections of others that have been selected deliberately for publication to illustrate early influences and later “borrowings” previously mentioned, as well as to show how difficult (and foolish) it is to try to label the ever-changing technical mixtures used by Gregoire in each of his pot-pourri experiments.
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Gregoire was nearly 96 when he died. Now, only 4 years on, 2009 marks both the centenary of his birth (31 July 1909) and a decade since the establishment of his gallery (February 1999). We wish to celebrate this concurrence with a tribute – a commemorative exhibition (of albeit only a few of the countless choice works in private collections) from 31 July to 31 December 2009.
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The August article (with September sequel) introduced the exhibition, mentioned certain aspects of the established Gregoire’s distinctive style and challenged some skewed notions about his work. The December one will focus on his 60-year association with Onrus/Vermont. But what of the peculiarly dichotomous INTERRELATIONSHIP BETWEEN PAINTER AND PERSON?
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Uys Krige (whose related clansfolk had summered here from before his childhood) first brought Gregoire to Onrus(t) soon after WWII. The village would retain its picturesque, timeless character for 25 more years: gravel roads, smallholdings, few dwellings, two modest general dealers, a butchery, newly-built garage, post office, tiny school, the hotel, open campsite and gnarled old trees – milkwoods, rooikrans, gums and myrtle. This appeased the romantic in Gregoire, as did the ever-changing countenances of Groenberg and sea.
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