The romanesque door in the distance acts as a bell echoing sound waves that expand and move towards us along the vaulted ceiling.  

The painting's mood reflects the meditative atmosphere of a cloister. A most impressive  painting. 
(by keith)

Aside from this paintings strong assured brush-work, it somehow takes my eyes and leads me towards the door. There is a stillness about it, almost an expectancy, but you are left waiting - looking at the door.  

1940 was not a good time for Mr. Flood's war torn homeland - England. No one knew what the future would hold. This painting seems to catch that uncertainty. 
(by keith)

The call "Here Comes the Plough!", signalled imminent danger to children on a street hockey rink, where pucks of black coal chunks were whacked with wood hocky sticks, that had been repaired many times, with tin from empty food cans - and bound tightly with electricians tape.  
(by keith)

Of the three horses the large black one on the left forms the focal point, this painting radiates natures power to impose her will on us, yet the horses seem content in the midst of these powerful forces. Mr. Flood normally uses colour to express gaiety and hope - this is a change for him - dramatic dark nutreal colours surround a point of tenderness. 

Painted in 1945 It becomes a metaphor for:  we have survived the war - the end is near - there is still love in the world. 
(by keith)

"A gem of draughtsmanship, a picture full of delicacy yet replete with colour ..." 
(Ottawa Citizen by W.M. Arnot, March 1947) 

Consider that it was painted during the depresson years. Mr. Flood looks into his inner world to find hope and beauty  He shows us the way into our own inner world through art. 
(by keith) 
 

Pierre Bourque:

Location: 861, boul. St-Rene est.
Gatineau, Quebec .......J8P 1V1

Paintings: reference no. 176 and
252 represent different views of the same church. Although the church remains and the landscape has changed over the half a century passing, the artists' expression of his feeling for the otherwise mundane scene can be seen in the painting when compared to the photo.
 
 (keith)

The colouration is similar to his "Three Black Horses" of 1945 and "Passing Storm" (water-colour-1940).  There is focus on the storm and the looking into. In "Passing Storm" the red is used to attract the eye as in this one. The focus used in "Three Horses" is more tonal - dark against light.  

It hints at the impending journey from the past to the future. 
(by keith) 
 

Ste. Rose de Lima
Photo Courtesy of:

Pierre Bourque:

Location: 861, boul. St-Rene est.
Gatineau, Quebec .......J8P 1V1
 

Paintings: reference no. 176 and
252 represent different views of the same church. Both are excellent examples of how an artist can enhance an every day scene by modifying it to emotionally express the medieval religious atmosphere of the 1940's since replaced by Quebec's quiet revolution.

(keith)

This building is now (March 2000)  a heritage building. It was built in 1912 as no.3 fire station for  the Hull fire department and was used as such until 1964. The fire truck access doors are smaller than modern fire station doors. It's address is 239 Champlain St. at the corner of Saint. Etinne. 

The wood fire hose tower is part of the building. That little section on the top front of the building is not a church in the background but ornimation attached to the building. 

This painting is woven into a loosly textured system of brush strokes creating thousands of hidden visual pleasures - it does not attempt to control you like his, (Red Mill 1945). 

(by keith) 
 

In this composition Mr. Flood has moved the pictorial texture up into the far middle against the  background. 

An interesting array of verticals attend to the terminus of the curving rails. This composition expresses arrival at the end of a journey. 
 

(by keith) 
 

The red and blue combination in  this painting is so powerful and in relation to other paintings reflects the variety of palette in Mr. Flood's work.  

Having had the privilege of inspecting dozens of Mr. Floods paintings I conclude that he was knowledgeable about painting in colour chords. This painting is done in a major chord with a double primary colour structure. 
(by keith) 
 

Oil on Canvas 
18in x 14 (ref-185) 
Family Collection 

This portrait is very lightly done -  hinting possibly at being an under painting. It has more the feel of a rapidly sketched pastel than an oil. 
 
 
 

(by keith) 
 

Frances was Mr. Floods daughter. She was nine at the time of this painting. She seems to be struggling to keep herself running off to the nearest swing. 
 

(by keith) 
 

Even though this composition contains figures, they play a minor role.  

The abstract patterns formed by the mechanical infrastructure of a nineteenth century  industrial complex, dominates the upper portion of this canvas. 

It has an undercurrent of "Charles Dickens England". That may be appropriate since 1937 was deep in  the dirty thirties. 

See pastel sketch (ref 124) 
 
 
 

(by keith) 
 

The intensity of the look, the large strong arms and hands  that  have been chiselled from the massive rock that forms the background ... 

...to the prospector stripped of everything but his belief in the pot of gold at the end of the rainbow -   life in the dirty thirties has purpose.  
 
 
 
 
 

(by keith) 
 

Oil on Canvas 
11in x 13.5 in (ref-009) 
Family Collection 

No strong yellows, blues, or reds in this painting. That places it in a minor chord. An interesting choice to express the wintery edge of spring. The metaphorical edge between death and the beginning of life. 
 
 
 

(by keith) 
 

Here the wintery edge of spring has more blues placing it into a major chord  and setting up a complementary contrast  to announce the approaching warmth of spring. 

Like the "Railway Siding" we have the verticlal horizontal texture high up at the end of quick flowing curves. 
 
 

(by keith) 
 

Oil on Canvas 
10.5in x 13 in (ref-034) 
Family Collection 

I found the intense blue and red oxide compelling - pulling me in - chilling me.  His use of  texture in the middle ground heightens this strange effect.  
 
 

(by keith) 
 

The yellow greens effectively capture those horrid overly warm days of summer. 

This is a more naturalistic presentation of nature in a sense it takes me back to an English countryside.  An interesting touch is provided by the rural mailbox on the right. 

(by keith)