Born in Quebec, August 10th 1940.

When artists render their impressions of the world around them on canvas, they grind the same basic colours: they employ the same tools. Some, like Krieghoff, translate their emotions into an accumulation of details that express their artistic fervour without detracting from the overall scene they are conveying.

The plastic idealism of contemporary artistic creation originated with those painters who sought to portray Time and the vibration of the Ether: dancing contours ans silhouettes... shapes and forms now indistinct, now sharply focussed... splashes of colour, arresting they eye prismatic brilliance...

When Suzor-Côté and Maurice Cullen returned ti his country eighty-five years ago, there were hailed as masters of light "new look" Canadian artists who had brought with them a more colourful way of perceiving nature. Today, nearly half a century since they passed from the scene, many painters still follow in their footsteps.

Not the least of these is Bruno Côté, a young self-taught nature painter with a distinctly non-literary style. Côté is an adept at revealing form with a single solid line, embracing light or shadow with equal effectiveness. Colour serves to emphasize, to combine movements as well as isolate them. Forcefully structured mountains thrust upwards to blot out the sun. Massivecloud formations appear as mute witnesses to the seething rush of water across the ravaged face of the earth. In the woods, leaves rustle as they strain against wind-whipped branchess. and in the distance the long shadow of a solitary cabin cuts across the virgin snow.

Bruno Côté's universe displays its architectonic rythms like a dazzling bouquet of flowers. It is a vision of innocence, of purity of paradise never lost, form which the serpent, not man, has been cast out.

Hugues de Jouvencourt

Bruno Côté discovered painting in 1965. Painter Arthur Genest encouraged him to dedicate himself to painting.