Background
By the early 1960s he was starting to gain a reputation as a skilled commercial artist. In 1963 He joined the Quebec sovereignty movement. Also during this time he helped to start the Quebec Journal in Quebec City. Yvon returned to Montreal in 1965, joining the art staff of the Journal de Montreal. He work commute during the night hours through the city inspired his artistic visions of shape, color and texture, resulting in Yvon departure from the Journal de Montreal to devote his life to his art in an artist colony in Quebec's Latin Quarter on the Rue de Tresor.
He works were soon featured on the covers of two major magazine publications: Culture Vivante, a magazine published by the Cultural Affairs Department of the Government of Quebec, and Mainmise, which is published both in France and the Province of Quebec. His art also escalated into the world of pop art; where it graced the cover of a Uriah Heep album cover; was used as the book cover for The Aquarian Wave; as well as gaining prestigious recognition within the world of art collectors. He original art found its way into the private collections of Tennessee Williams and Pierre Trudeau, and onto the walls of the Embassy of Canada in Washington, D.C. and London, and into the distinguished L'Annuaire de Art International.
Read more about this topic: Yvon D'Anjou
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