RAT

[Rodney C. Mackay]

Royle believed that painting was "not a trick dependent on skill and craftsmanship" but a language the grammar and syntax of which could be learned through perserverence and practise. Colville seems to have adopted this belief but rejected his painting master's political cant, except where it came to making works of art available to the common man.

"Colville's object in producing prints, apart from his fascination with the technique, was to make his work more accessible. Although his paintings were not as expensive initially as they are now, there was (initially) always only one of each and many younger people who admired his work were unable to acquire them." When Colville began to develop more of a commercial bent he extended the number of prints in an addition to seventy, but by then they were even less available to those of modest means.

While the National Gallery of Canada first began collecting Colville's work in the 1950s, it was not he acquited professional representation in New York that his career started to take root. In 1963, he left Mount Allison with faint regrets, to begin painting full-time. Later that year, Colville was awarded the Won Dunn International Award at the Beaverbrook Gallery. In 1965, Colville was commissioned to design the coins commemorating Canada's centennial year. He was named an Officer of the Order of Canada in 1967

He exhibited in Hanover, Germany and in London, England in 1969 and 1970. and afterwards began to experience great commercial success. He was made Companion of the Order of Canada in 1982. He has received numerous honorary degrees, and has served on many provincial and national boards including the Canada Council and the National Gallery of Canada. He was Chancellor of Nova Scotia's Acadia University from 1981 to 1991.
Colville and his wife , Rhoda, live in