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William Kurelek Life & Work by Andrew Kear
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Photo Credits

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Credit for Cover Image

Reminiscences of Youth, 1968. (See below for details.)


Credits for Banner Images

Biography: Artist William Kurelek, c. 1965. (See below for details.)
Key Works: In the Autumn of Life, 1964. (See below for details.)
Significance & Critical Issues: The Painter, 1974. (See below for details.)
Style & Technique: Reminiscences of Youth, 1968. (See below for details.)
Sources & Resources: The Airman’s Prayer, c. 1959. (See below for details.)
Where to See: Installation view of the exhibition William Kurelek: The Messenger at the Art Gallery of Hamilton, 2012. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Robert McNair.

Credits for Works by William Kurelek

The Airman’s Prayer, c. 1959. Private collection. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
All Things Betray Thee Who Betrayest Me, 1970. Collection of the Niagara Falls Art Gallery and Museum. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Niagara Falls Art Gallery and Museum.
And This Was So Ordained..., c. 1959–65. William Kurelek Fonds, Library and Archives Canada, Ottawa (1997-499-4.3V). Courtesy of Library and Archives Canada / The Brechin Group Inc. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
The Bachelor, 1955. The Thomson Collection, Art Gallery of Ontario, Toronto (AGOID.103991). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Art Gallery of Ontario.
Behold Man Without God, 1955. Collection of the Art Gallery of Ontario, Toronto, gift of Mr. and Mrs. George G. Sinclair, 1982 (82/51). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Art Gallery of Ontario.
Behold Man Without God #4, 1973. Collection of the Winnipeg Art Gallery, gift of Robert and Margaret Hucal (2012-183). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Ernest Mayer.
But Jesus Said to Them..., c. 1959–65. William Kurelek Fonds, Library and Archives Canada, Ottawa (1997-499-5.39V). Courtesy of Library and Archives Canada / The Brechin Group Inc. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
Cover of William Kurelek, Kurelek’s Canada (Toronto: Canadian Heritage Library, 1975). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Lee Henderson.
Cover of William Kurelek, A Prairie Boy’s Summer (Montreal: Tundra Books, 1975). Courtesy of Tundra Books / Penguin Random House Canada. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Lee Henderson.
Cover of William Kurelek, A Prairie Boy’s Winter (Montreal: Tundra Books, 1973). Courtesy of Tundra Books / Penguin Random House Canada. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Lee Henderson.
Cover of William Kurelek, Someone With Me (Toronto: McClelland & Stewart, 1980). Courtesy of McClelland & Stewart / Penguin Random House Canada. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Lee Henderson.
Cover of William Kurelek, To My Father’s Village (Toronto: McClelland & Stewart, 1988). Courtesy of McClelland & Stewart / Penguin Random House Canada. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Lee Henderson.
Cross Section of Vinnitsia in the Ukraine, 1939, 1968. Collection of the Winnipeg Art Gallery, gift of Mr. & Mrs. Desmond Smith (G-78-55). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Ernest Mayer.
Despondency, 1963. Collection of the Winnipeg Art Gallery, gift of an anonymous donor (G-77-34). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Ernest Mayer.
The Devil’s Wedding, 1967. Corporate Collection of James Richardson & Sons, Limited, Winnipeg. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Ernest Mayer, courtesy of the Winnipeg Art Gallery.
Dinnertime on the Prairies, 1963. Collection of McMaster Museum of Art, McMaster University, Hamilton, Ontario, Wentworth House Art Committee Purchase, 1963 (1963.008.0001). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: McMaster Museum of Art.
Don Valley on a Grey Day, 1972. The Thomson Collection, Art Gallery of Ontario, Toronto (AGOID.104138). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Art Gallery of Ontario.
Exhibition poster design for The Burning Barn, c. 1969. Avrom Isaacs Fonds (FO134), Box 019, File 13, Clara Thomas Archives & Special Collections, York University. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Stephanie Burdzy, courtesy of Clara Thomas Archives & Special Collections.
Farm Boy’s Dreams, 1961. Collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., gift of Joseph H. Hirshhorn, 1966 (66.2862). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Hirshhorn Museum and Sculpture Garden.
Farm Children’s Games in Western Canada, 1952. Private collection. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
Glimmering Tapers ’round the Day’s Dead Sanctities (Nature Poor Stepdame Series), 1970. Art Gallery of Alberta Collection, Edmonton, purchased in 1990 with funds from the Art Associates of the Edmonton Art Gallery (90.15). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Art Gallery of Alberta.
Hailstorm in Alberta, 1961. Collection of the Museum of Modern Art, New York, gift of the Women’s Committee of the Art Gallery of Toronto (380.1961). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
Harvest of Our Mere Humanism Years, 1972. Manulife Art Collection, Toronto. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Robert McNair, courtesy of the Art Gallery of Hamilton.
He Gloats over Our Scepticism, 1972. Private collection, Canada. Courtesy of Waddingtons.ca. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
The Hope of the World, 1965. Private collection. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Robert McNair, courtesy of the Art Gallery of Hamilton.
Hunter Awaiting Seal at Breathing Hole, 1976. Collection of The Robert McLaughlin Gallery, Oshawa, gift of Christopher Ondaatje, Pagurian Press Limited, 1977 (1977KW47). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: The Robert McLaughlin Gallery.
The Isaacs Gallery Workshop, 1973. Private collection of Avrom Isaacs and Donnalu Wigmore, Toronto. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
Illustrations on pages 28 and 29 of Ivan Franko and Bohdan Melnyk, Fox Mykyta (1978), c. 1977. Courtesy of Tundra Books / Penguin Random House Canada. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Lee Henderson.
Illustration on page 90 of William Kurelek, The Last of the Arctic (Toronto: Pagurian Press, 1976), c. 1976. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Stephanie Burdzy, courtesy of the Toronto Reference Library.
Illustration on page 497 of William Kurelek, Someone With Me (Ithaca: Center for Improvement of Undergraduate Education at Cornell University, 1973), c. 1973. Courtesy of the Kheel Center for Labor-Management Documentation and Archives, Martin P. Catherwood Library, Cornell University; and Stephen Kurelek. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Stephanie Burdzy.
Illustration on page 267 of W.O. Mitchell, Who Has Seen the Wind (1976), 1975. Power Corporation of Canada Art Collection / Collection Power Corporation du Canada. Courtesy of Loch Gallery, Calgary. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Loch Gallery.
In the Autumn of Life, 1964. Collection of the Art Gallery of Ontario, Toronto, gift from the McLean Foundation, 1964 (64/9). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Art Gallery of Ontario.
I Spit on Life, c. 1953–54. Adamson Collection, Wellcome Library, University College London, U.K. Courtesy of Wellcome Library. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
King of the Castle, 1958–59. Private collection. Courtesy of Mayberry Fine Art. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Mayberry Fine Art.
Lest We Repent…, 1964. Collection of the Agnes Etherington Art Centre, Queen’s University, Kingston, ON, purchase, George Taylor Richardson Memorial Fund, 1966 (09-006). Photo credit: Bernard Clark.
Lord That I May See, 1955. Collection of the Montreal Museum of Fine Arts, purchase, Saidye and Samuel Bronfman Collection of Canadian Art (1963.1387). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Christine Guest.
Lumber Camp Sauna, 1961. Collection of the National Gallery of Canada, Ottawa, gift of M.F. Feheley, Toronto, 1993 (37369). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: National Gallery of Canada.
Lumberjack’s Breakfast, 1973. Collection of the Art Gallery of Greater Victoria, gift of Mr. and Mrs. Freeman and Rosita Tovell (1980.090.001). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Stephen Topfer.
The Maas Maze, 1971. Collection of the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, gift of Professor James B. Maas. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: the Herbert F. Johnson Museum of Art. 
Manitoba Party, 1964. Collection of the National Gallery of Canada, Ottawa, purchase, 1965 (14761). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: National Gallery of Canada.
The Maze, 1953. Collection of Bethlem Museum of the Mind, Beckenham, Kent. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Bridgeman Images.
Netherne Hospital Workshop, 1954. Private collection. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
Night and the Winnipeg Flood, 1977. Collection of the Winnipeg Art Gallery, gift of Margaret and Robert Hucal (G-96-74). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Ernest Mayer.
No Grass Grows on the Beaten Path, 1975. Private collection of Avrom Isaacs and Donnalu Wigmore, Toronto. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: David Kemp.
Not Going Back to Pick Up a Cloak; If They Are in the Fields after the Bomb Has Dropped, 1971. Private collection, Canada. Courtesy of Loch Gallery, Calgary. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
The Painter (Le peintre), 1974. The Thomson Collection, Art Gallery of Ontario, Toronto (AGOID.104135). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Art Gallery of Ontario.
The Passion of Christ (And So They Reached a Place Called Golgotha …), 1960-1963. Collection of the Niagara Falls Art Gallery and Museum. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Niagara Falls Art Gallery and Museum.
The Passion of Christ (And, While They Were at Table, He Said, Believe Me, One of You Is to Betray Me), 1960-1963. Collection of the Niagara Falls Art Gallery and Museum. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Niagara Falls Art Gallery and Museum.
The Passion of Christ (Introduction Panel), 1960-1963. Collection of the Niagara Falls Art Gallery and Museum. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Niagara Falls Art Gallery and Museum.
The Passion of Christ (Saying As They Did So …), 1960–63. Collection of the Niagara Falls Art Gallery and Museum. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Niagara Falls Art Gallery and Museum.
Piotr Jarosz, 1977. Collection of the Art Gallery of Hamilton, gift of the Polish Alliance of Canada and Wintario, 1978 (77.46). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Michael Lalich.
Polish Wedding at Kaszuby, 1977. Collection of the Art Gallery of Hamilton, gift of the Polish Alliance of Canada and Wintario, 1978 (77.59). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Michael Lalich.
A Poor Mexican Courtyard, 1976. Collection of Mayberry Fine Art, Toronto. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Mayberry Fine Art.
Portrait of the Artist as a Young Man, 1950. Collection of Loch Gallery, Calgary. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Heffel Fine Art.
Pre-Maze, c. 1953. Collection of the Art Gallery of Ontario, Toronto, gift from the collection of Bruno M. and Ruby Cormier, 1983 (83/300). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Art Gallery of Ontario.
Reminiscences of Youth, 1968. The Thomson Collection, Art Gallery of Ontario, Toronto (AGOID.104143). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Art Gallery of Ontario.
The Rock, 1962. The Thomson Collection, Art Gallery of Ontario, Toronto (AGOID.104134). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Art Gallery of Ontario.
Self-Portrait, 1957. The Thomson Collection, Art Gallery of Ontario, Toronto (AGOID.103679). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Art Gallery of Ontario.
Skating on the Bog Ditch, 1971. Private collection. Courtesy of Tundra Books / Penguin Random House Canada. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
Someone With Me, 1974. Private collection, Quebec. Courtesy of Waddingtons.ca. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
Softball, 1974. Permanent loan to the Art Gallery of Windsor from the private collection of Hiram Walker and Sons Limited, Walkersville. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Windsor Art Gallery.
This Is the Nemesis, 1965. Collection of the Art Gallery of Hamilton, gift of Mrs. J.A. McCuaig, 1966 (66.75.Q). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Michael Lalich, courtesy of the Art Gallery of Hamilton.
The Tower of Babel, 1954. Private collection, Burlington. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
Tramlines, 1952. Collection of the London Transport Museum, U.K. (1990/118). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: © London Transport Museum collection, courtesy of Transport for London.
Trompe l’oeil with a Fisherman’s Fly, 1955. Collection of Loch Gallery, Calgary. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Loch Gallery.
Ukrainian Canadian Farm Picnic, 1966. Collection of the Ukrainian Museum of Canada of the Ukrainian Women’s Association of Canada, Saskatoon. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto.
The Ukrainian Pioneer (series), 1971, 1976. Collection of the National Gallery of Canada, Ottawa, transfer from the House of Commons of the Parliament of Canada, 1990 (30836.1-.6). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: National Gallery of Canada.
The Ukrainian Pioneer, No. 6, 1971, 1976. Collection of the National Gallery of Canada, Ottawa, transfer from the House of Commons of the Parliament of Canada, 1990 (30836.6). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: National Gallery of Canada.
We Find All Kinds of Excuses, 1964. Collection of the Art Gallery of Ontario, Toronto, gift of the Estate of Annette Cohen, 2001 (2001/165). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Art Gallery of Ontario.
Where Am I? Who Am I? Why Am I?, 1953–54. American Visionary Art Museum, Baltimore, gift of Edward Adamson Collection, London, U.K. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: American Visionary Art Museum.
Yom Kippur, 1975. Collection of UJA Federation of Greater Toronto. © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: David Kaufman, courtesy of UJA Federation of Greater Toronto, Ukrainian Jewish Encounter, and the Ontario Jewish Archives.
Zaporozhian Cossacks, 1952. Collection of the Winnipeg Art Gallery, gift of Robert G. Kearns (2003-146). © Estate of William Kurelek, courtesy of the Wynick/Tuck Gallery, Toronto. Photo credit: Ernest Mayer.


Credits for Photographs and Works by Other Artists

401 Towards London No. 1, 1968–69, by Jack Chambers. Collection of the Art Gallery of Ontario, Toronto, gift of Norcen Energy Resources Limited, 1986 (86/47). © Jack Chambers Estate. Photo credit: Art Gallery of Ontario.
The artist at the Isaacs Gallery frame shop, c. 1959. Private collection, Toronto. Courtesy of the Estate of William Kurelek and the Wynick/Tuck Gallery, Toronto.
Artist William Kurelek, c. 1965. Tess Taconis Collection, Library and Archives Canada, Ottawa (PA-129623). Courtesy of Library and Archives Canada / The Brechin Group Inc. © Estate of Tess Taconis. Photo credit: Tess Taconis.
Cover of Edward Holloway, Catholicism: A New Synthesis (Wickford: Faith Keyway Publications, 1969). Photo credit: Lee Henderson.
Cover of Kimon Nicolaïdes, The Natural Way to Draw (Boston: Houghton Mifflin Harcourt, 1941). © 1941, renewed 1969 by Ann Nicolaïdes. Used by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved. Photo credit: Lee Henderson
Echo of a Scream, 1937, by David Alfaro Siqueiros. Collection of the Museum of Modern Art, New York, gift of Edward M.M. Warburg (633.1939). © 2016 David Alfaro Siqueiros / Artists Rights Society (ARS), New York / SOMAAP, Mexico.
Family and Rainstorm, 1955, by Alex Colville. Collection of the National Gallery of Canada, Ottawa, purchase, 1957 (6754). Courtesy of Ann Kitz. © Estate of Alex Colville. Photo credit: A.C. Fine Art Inc.
Father Peter Mayevsky, c. 1937. Courtesy of Oseredok—Ukrainian Cultural and Educational Centre and Archives, Winnipeg.
Frontispiece, Psychotic Art (1950), by Francis Reitman. Courtesy of Routledge / Taylor and Francis Group, U.K. Photo credit: Lee Henderson.
The Garden of Earthly Delights (details), 1490–1500, by Hieronymus Bosch. Collection of the Museo del Prado, Madrid, on permanent loan from Patrimonio Nacional since 1943 (P02823).
The Harvesters, 1565, by Pieter Bruegel. Collection of the Metropolitan Museum of Art, New York, Rogers Fund, 1919 (19.164). Photo credit: Metropolitan Museum of Art.
The Isaacs Gallery, 832 Yonge Street, c. 1970. City of Toronto Archives, Ellis Wiley Fonds (FO124), File 2, Item 114 (429294). Courtesy of City of Toronto Archives. © Estate of Ellis Wiley. Photo credit: Ellis Wiley. 
Occupational therapist Margaret Smith, c. 1953–59. Private collection, Toronto. Courtesy of the Estate of William Kurelek and the Wynick/Tuck Gallery, Toronto.
Magnetawan No. 2, 1965, by Gordon Rayner. Collection of the National Gallery of Canada, Ottawa, purchase, 1967 (15315). Courtesy of the Estate of Gordon Rayner. Photo credit: National Gallery of Canada.
Reply of the Zaporozhian Cossacks, 1880–91, by Ilya Repin. Collection of the State Russian Museum, Saint Petersburg (zh-4005).
Ukrainian Orthodox cathedral of St. Mary the Protectress, Winnipeg, 2011. Photo credit: Andrew Kear.
Video still from The Maze, 1969 (2011), directed by David Grubin and Robert M. Young. © Robert M. Young & David Grubin. Courtesy of Nick and Zach Young / MachinEyes.
Video still from The Picture of Dorian Gray, directed by Albert Lewin, 1945.
William Kurelek and Avrom Isaacs in the Isaacs Gallery framing workshop, where Kurelek worked from 1960 to 1970, c. 1960s. Private collection, Toronto. Courtesy of Wynick/Tuck Gallery, Toronto.
William Kurelek and his extended family, c. early 1960s. Private collection. Courtesy of the Estate of William Kurelek and Wynick/Tuck Gallery, Toronto.
William Kurelek and his paintings at Maudsley Hospital, London, c. 1953. Private collection. Courtesy of the Estate of William Kurelek and Wynick/Tuck Gallery, Toronto.
William Kurelek and his Volkswagen Beetle, c. 1963. Private collection. Courtesy of the Estate of William Kurelek and Wynick/Tuck Gallery, Toronto.
William Kurelek in the studio he built in the basement of his Toronto home on Balsam Avenue, c. late 1960s / early 1970s. Courtesy of Bill Kirby, Centre for Contemporary Canadian Art, Concordia University, Montreal.
William Kurelek in Toronto during his days as a student at the Ontario College of Art, c. 1949. Private collection. Courtesy of the Estate of William Kurelek and Wynick/Tuck Gallery, Toronto.
William Kurelek painting in his basement studio, October 18, 1973. Photograph by Erik Christensen. Courtesy of Globe and Mail Inc., Digital Media. © Erik Christensen / The Globe and Mail.
William Kurelek posing before the paintings Lest We Repent... (top left) and This Is the Nemesis (bottom left). Courtesy of Bill Kirby, Centre for Contemporary Canadian Art, Concordia University, Montreal.
William Kurelek taking photographs at his parents’ farm in Vinemount, Ontario, c. 1956. Private collection. Courtesy of the Estate of William Kurelek and Wynick/Tuck Gallery, Toronto.
William Kurelek with a painting in the Isaacs Gallery framing workshop, date unknown. Private collection. Courtesy of the Estate of William Kurelek and Wynick/Tuck Gallery, Toronto.
William Kurelek with the sign he created for his exhibition The Burning Barn: 16 Paintings by William Kurelek, held at Hart House Art Gallery, University of Toronto, March 11–29, 1969. Private collection, Toronto. Courtesy of the Estate of William Kurelek and Wynick/Tuck Gallery, Toronto.
William Kurelek’s father and mother, Dmytro and Mary Kurelek (née Huculak), c. 1925. Private collection, Toronto. Courtesy of the Estate of William Kurelek and Wynick/Tuck Gallery, Toronto.
William Kurelek’s father, Dmytro (Metro) Kurelek (far right), as a young man, c. 1923. Private collection, Toronto. Courtesy of the Estate of William Kurelek and Wynick/Tuck Gallery, Toronto.
A view of the road from the dashboard of the artist’s Volkswagen Beetle, date unknown. William Kurelek Fonds, File 10, Prairies, Slide 20. Courtesy of Library and Archives Canada / The Brechin Group Inc. © Jean Kurelek.


Acknowledgements

From the Author

I am grateful to the many people who have encouraged, nurtured, and supported my interest in William Kurelek. My closest childhood friends and their families—particularly the Smiths and Willms—were the first to introduce me to the artist back in the 1980s. My parents and sister, who have always shown a tireless interest in my work, remain my bedrock. I am indebted to Mary Jo Hughes and Tobi Bruce who, while I was still a young and untested curator, invited me to help organize and stage a major Kurelek exhibition in 2011. I would also like to acknowledge my employer, the Winnipeg Art Gallery and director Stephen Borys, for providing the support that has allowed me to pursue my interest in the artist. Thanks to Stephen Kurelek and the Kurelek estate for the enthusiasm and support they have shown toward me and this publication. I would also like to commend Sarah Brohman for her erudite and tactful editorial stickhandling, and I sincerely thank the anonymous peer reviewer for the helpful, candid remarks and recommendations.

I appreciate all the assistance I received from my fellow cultural workers at ACI and across the country toward preparing this publication: Stephanie Burdzy, Cliodna Cussen, Nicole Fletcher, Emily Lawrence, Lela Radisevic, Corin De Sousa, Georgiana Uhlyarik, Kendra Ward, and Erin Yunes. I would like to extend particular gratitude to Anna Hudson and Sara Angel for inviting me to contribute to ACI’s important growing catalogue of Canadian artist monographs.

Lastly, I would like to thank and dedicate this book to Bree Bergen (who grew up, like Kurelek, in Stonewall, Manitoba) for the love and support she has always given me.

From the ACI
This online art book was made possible thanks to its Lead Sponsor: The Scott Griffin Foundation. Much gratitude goes to the Founding Sponsor for the Canadian Online Art Book Project: BMO Financial Group.

The Art Canada Institute gratefully acknowledges the other sponsors for the 2016–17 Season: Aimia, Kiki and Ian Delaney, Esker Foundation, The McLean Foundation, Rosamond Ivey, The Richard and Beryl Ivey Fund within the London Community Foundation, Karen Schreiber and Marnie Schreiber, and TD Bank.

Thanks also to the Art Canada Institute Founding Patrons: Jalynn H. Bennett, the Butterfield Family Foundation, David and Vivian Campbell, Albert E. Cummings, Kiki and Ian Delaney, Jon and Lyne Dellandrea, the Fleck Family, Roger and Kevin Garland, the Gershon Iskowitz Foundation, The Scott Griffin Foundation, Michelle Koerner and Kevin Doyle, Jane Huh, Phil Lind, Sarah and Tom Milroy, Nancy McCain and Bill Morneau, Gerald Sheff and Shanitha Kachan, Sandra L. Simpson, Pam and Mike Stein, Nalini and Tim Stewart, Robin and David Young, Sara and Michael Angel; as well as its Founding Partner Patrons: the Pierre Elliott Trudeau Foundation and Partners in Art.

The ACI gratefully acknowledges the support and assistance of the Adamson Collection, Wellcome Library (William Schupbach); Agnes Etherington Art Centre (Alicia Boutilier, Jennifer Nicholl); American Visionary Art Museum (Matt Craft); Art Gallery of Alberta (Rochelle Ball); Art Gallery of Greater Victoria (Stephen Topfer, Lesley Golding); Art Gallery of Hamilton (Christine Braun, Lela Radisevic); Art Gallery of Ontario (Tracy Mallon-Jensen, Jill Offenbeck, Amy Furness, Marilyn Nazar); Art Gallery of Windsor (Nicole McCabe); Art Resource (John Benicewicz); Brechin Imaging Services (Danyel); Bridgeman Images (Mai Pham); Brooklyn Museum (Monica Park, Ruth Janson); Centre for Contemporary Canadian Art, Concordia University (Bill Kirby); City of Toronto Archives (Andrea de Shield); Clara Thomas Archives and Special Collections, York University (Suzanne Dubeau); Cornell University Press (Stephanie Munson); Estate of Jack Chambers (John Chambers); Estate of William Kurelek (Stephen Kurelek); Estate of Gordon Rayner (Katharyn Rayner); Estate of Tess Taconis (Lucy Medland); Globe and Mail Inc. (Douglas Tripp, Chip Schafer); Heffel Fine Art Auction House (Lauren Kratzer); Herbert F. Johnson Museum of Art, Cornell University (Sonja Gandert, Lucy Whiteley); Hirshhorn Museum and Sculpture Garden (Julia Murphy); Houghton Mifflin Harcourt Trade Publishing (Michelle de la Cruz); James Richardson & Sons, Limited (Kelly Harris); Kheel Center for Labor-Management Documentation and Archives, Cornell University (Melissa Holland); Library and Archives Canada (Marie Julie Hyppolite, Lise Schroeder); Loch Gallery (Ian Loch, Nancy Smith); London Transport Museum (Valia Lamprou); Manulife Financial Art Collection (Donna Murphy, Adrienne Wai); Mayberry Fine Art (Shaun Mayberry, Stefanie Galvanek); McMaster University Museum of Art (Julie Bronson); Montreal Museum of Fine Arts (Marie-Claude Saia); National Gallery of Canada (Raven Amiro); Niagara Falls Art Gallery and Museum (Debra Attenborough, Dave Gilbert); Ontario Jewish Archives (Faye Blum); State Russian Museum (Evgenia Petrova, Vera Kessenich); The Robert McLaughlin Art Gallery (Alessandra Cirelli); Taylor & Francis Group; Toronto Public Library; Ukrainian Jewish Encounter (Alti Rodal); Ukrainian Museum of Canada (Janet Prebushewsky Danyliuk); Waddington’s Auctioneers and Appraisers (Linda Rodeck); Winnipeg Art Gallery (Andrew Kear, Nicole Fletcher, Ellen Plouffe); Wynick/Tuck Gallery (David Tuck); and David Franklin, Lee Henderson, Rork Hilford, Renann Isaacs, David Kaufman, David Kemp, Ann Kitz, Irina Smirmova, Donnalu Wigmore, and Nick and Zack Young.

Publisher: Sara Angel
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Copyright

© 2017 Art Canada Institute. All rights reserved. 
ISBN 978-1-4871-0125-1

Art Canada Institute 
Massey College, University of Toronto
4 Devonshire Place
Toronto, ON M5S 2E1

Library and Archives Canada Cataloguing in Publication

Kear, Andrew, 1977-, author
William Kurelek : life & work / Andrew Kear.

Includes bibliographical references.
Contents: Biography — Key works — Significance & critical issues — Style &
technique — Sources & resources — Where to see.

Issued in print and electronic formats.
ISBN 978-1-4871-0124-4 (hardcover).–ISBN 978-1-4871-0125-1 (HTML).
–ISBN 978-1-4871-0126-8 (PDF).–ISBN 978-1-4871-0127-5 (mobile)

1. Kurelek, William, 1927-1977.  2. Kurelek, William, 1927-1977– Criticism and
interpretation.  I. Kurelek, William, 1927-1977.  Paintings.   Selections.  
II. Art Canada Institute, issuing body  III. Title.

ND249.K87K43 2017                  759.11 C2016-907902-3                C2016-907903-1