On viewing the glorious colour and dreamy serenity of Summer in Yellow #2, one can imagine the particularly joyful outlook of the artist as he was painting his canvases during that summer season. In 1972 Gershon Iskowitz, along with sculptor Walter Redinger, had been chosen to represent Canada at the Venice Biennale and, as Adele Freedman wrote, “For Iskowitz it was a dream come true, a sign that his long voyage from a Polish shtetl through the darkness of Auschwitz and Buchenwald had been recognized.” From his modest Spadina Avenue studio in the heart of Toronto’s Kensington Market, Iskowitz depicted the Canadian landscape beyond his studio walls, concentrating on each season (with the exception of chilly winter). With fresh eyes he offered us a gentle deconstruction of the trees, the hills and the clouds, all within a shimmering light to encompass each element. Iskowitz was not only a gifted artist who managed to transcend the trials of his wartime experiences; he was also a valued teacher and mentor to a generation of artists who were fortunate enough to have crossed his path.