About

David Langevin is one of Canada's most distinctive contemporary landscape painters, renowned for his dramatic interpretations of the Canadian wilderness and his unmistakable "tree portraits." For more than three decades, his paintings have captivated collectors with their luminous light, rich colour, and powerful emotional presence. His work is represented in galleries across Canada and can be found in private and corporate collections throughout North America.

 

Born in Quebec and educated at the University of Ottawa and McGill University, Langevin developed an early fascination with the technical mastery of the great European painters. While many contemporary artists looked toward modern movements for inspiration, he immersed himself in the methods of the Old Masters, studying historical painting techniques, materials, and conservation practices in pursuit of complete expressive freedom. This dedication led him to develop a highly personal approach that combines Renaissance and Baroque painting principles with the grandeur of the Canadian landscape. 

 

Since settling in British Columbia in 1992, Langevin has drawn endless inspiration from Canada's forests, mountains, lakes, and skies. His paintings are not literal reproductions of nature but rather emotional interpretations infused with atmosphere, movement, and light. Through multiple layers of transparent glazes, veils, textures, and vibrant colour, he creates images that seem to glow from within, inviting viewers into a world that feels both familiar and dreamlike.

 

Collectors are particularly drawn to Langevin's ability to transform ordinary natural subjects into powerful visual experiences. His iconic trees have become symbols of endurance, character, and connection to the land. Whether depicting towering mountain vistas, reflective waters, or solitary trees clinging to rocky outcrops, each painting carries a strong sense of place while transcending the purely representational.

 

Often described as a "modern-day Old Master," Langevin continues to push the boundaries of his craft while remaining deeply rooted in the Canadian landscape tradition. His work combines technical excellence with emotional impact, creating paintings that reward long-term ownership and continue to resonate with collectors year after year.

His paintings are sold in galleries across Canada.

 

What originally inspired you to become an artist?

 I started making convincing drawings of animals, hockey players, cars and such when I was about 6 and soon started trading them at school.  I was inspired. 

 What has been the best part of painting as your career?

 I do not have a job, I don’t work for a living, I won’t be retiring from anything, I am just living my life, doing what I was meant to do; how cool is that?  It is the way in which I am connecting, contributing, and networking with the world, with life, with so many wonderful people.   

It is also one of those ‘happy’ occupations.  People are enjoying and buying art, that means they are doing something they love and I am a part of that experience – That is so wonderful.

 Most of all I love to hear some of the amazing stories from people who tell me how much my paintings mean to them in their lives. 

 I feel very privileged and honored to be doing this. 

 The most challenging part?

 I have never thought much about art or my career in that way.  Though I do work hard and put a lot of time and energy into the process of being a good, productive artist.  There are stresses, pressure and the like, but that is life.  I am very goal oriented and I love challenges.  

Can you list some defining moments in your artistic career?

 There are a few for sure:  The first painting I sold, to my aunt; my first commission, my cousin; my first real solo show, I sold one painting, to my father-in-law; my second show where I sold all but a couple; the day I quit my last ‘real’ job to paint full time. 

What stage in the life of a painting do you know it is a great piece?

 Long before the painting even begins, months sometimes.  I know what I am going to paint before I start.  I imagine, I see the painting in my mind.  It is already complete, I know what it will look like and how it will turn out, I just have to think backwards through the layers of paint to figure out how to bring it to life.

To you, what is the most important aspect of your work?

 What I call ‘creative momentum’.  Painting consistently over the years has generated a body of work that stretches in both directions, behind and in front of me in time.  I will never run out of ideas or inspiration. 

 Relationships, with my galleries, my colleagues, clients and collectors, are also very important to me.

 What do you want people to notice when viewing your work?

 I don’t give that any thought really.  I leave it up to people to experience the work in their own way.  I am often surprised and fascinated at what people find interesting and what they focus on in my work. 

Do you have a ‘trademark’ of some sort?  Something that people associate with your paintings?

 From the perspective of the subject matter, it seems clear by now that I am best known for my ‘tree portraits’.  My training and painting style are quite unique.  I spent many years studying the techniques of the Renaissance and Baroque Masters and have combined these methods with modern materials, texture and collage techniques, and the Canadian landscape.  I know that alone sets me apart from every other painter that I know of. 

Can you briefly go over your artistic process; a painting from start to finish?

 Like I mentioned earlier, I know what I am going to paint long before I get around to it.  Most times I will use reference material, photographs I have taken on hikes, to compose the painting. 

 I draw the painting on the canvas and work out every detail of the composition at that stage.  Then I apply the various mediums if I am using texture techniques.  After the mediums have dried I start the painting with an overall transparent glaze, called an Imprimatura, to establish the base hue.  I then apply several layers of alternating glazes and veils until the painting reaches the final stage when I apply the darkest darks and the lightest opaque highlights.