History of Contemporary Canadian Art 

September 20th 2018 

Chapter 1 

Art Insititutions in the Twentieth Century:Framing Canadian Visual Culture. 

The Museum : Enlightenment 

Historical spectacle 

Evidence of humanity and human potential, therefore spectators not participants are positioned to most fully experience this potential. 

Enlightenment is man's emergence from his self imposted immaturity. Immaturity is the inability to use ones understanding without guidance from another. Have courage to use your own understanding - thus is the motto of enlightenment. 

135 enlightenment 

The museums primary function is ideological...

“Enlightenment is man's emergence from his self-imposed immaturity. Immaturity is the inability to use one's understanding without guidance from another.”
“‘Have courage to use your own understanding!’ – that is the motto of enlightenment.”
- Immanual Kant, “Answer to the Question: What is Enlightenment?” 135. 

The museum represents a radical restaging of culture as a form of social cohesiveness and shared historical experience.  The museum creates a universal history for all people to experience. Karl Friedrich Schinkel, gallery from the main staircase Berlin Altes Museum, 1823-3

The museum is a microcosm of the state and is intimately tied to ideas of nationhood. The museum represents a radical restaging of culture as a form of social cohesiveness and shared historical experience. The museum creates a universal history for all people to experience. The “museum’s primary function is ideological,” Duncan and Wallach point out, impressing “upon those who use or pass through it society’s most revered beliefs and values.”

Universal Survey Museum,” Museum Studies, 52– Carol Duncan and Alan Wallach, “The museum does not simply communicate cultural beliefs and values, it produces them. The 19th century saw the extensive spread of the public museum.The Louvre was the first major museum and became a key prototype. To this day, visitors to the museum are treated to a variety of artworks and artifacts representing the historical and cultural wealth of the French state.

Not coincidentally,” Ruth B. Philips points out, the emergence of “the ‘museum age’ ... coincided with the consolidation of Western imperial dominion over indigenous peoples around the world.” Ruth B. Philips, “A Proper Place for Art or the Proper Arts of Place?” On Aboriginal Representation in the Gallery, 45. 

“To gain control of the museum, therefore, is to gain control of the prestigious forum from which to propound knowledge and to assert
value.”  Ruth B. Phillips, “APEC at the Museum of Anthropology,” 171.

At the end of her article Phillips notes that, in addition to being “sites for the staging of spectacles,” Museums are “ideally suited to support” the “reconstitutions of community and the particular”

– Phillips, “APEC at the Museum of Anthropology,” 188. 

19th Century : The Louvre was the first major museum and became a key prototype. To this day, visitors to the museum are treated to a variety of artworks and artifacts representing the historical and cultural wealth of the French state. 

“ The emergence of the museum age, coincided with the consolidation of Western imperial documentation .To control the museum is to control the prestigious form from which to propound knowledge, ect."

At the end of her article Philips notes that, in addition to being : sites for the staging of spectacles” 

Museums are ideally suited to support "The reconstructions of the community and the particular."

Local and global forms of knowledge and and value, in both Europe and the colonies, Philips notes the creation of public museums and the installation of exhibits that inscribed Eurocentric meta narratives of the historical development of art and culture were instrument in disciplining publics to particular regimes of power and constructs of nation and citizenship.” 

Phillips states that a proper place for art or the proper arts of place “ Of aboriginal representation in the granting system." 

A key question she raises is the ways in which we negotiate between local and global forms of knowledge and value. By privileging the global and minimizing the local the dialogue between colonizer and colonized is commonly overlooked.

“In both Europe and the colonies,” Philips notes, “the creation of public museums and the installation of exhibits that inscribed Eurocentric metanarratives of the historical development of art and culture...were instrumental in disciplining publics to particular regimes of power and constructs of nation and citizenship.”
– Philips, “A Proper Place for Art or the Proper Arts of Place?” On Aboriginal Representation in the Gallery, 45.

“From museums & galleries to the artist-run centres, magazines, and art discourses that have emerged in Canada over the past 100 years, art institutions function as frames through which the work of art acquires meaning.”
- Anne Whitelaw, “Art Institutions in the Twentieth Century: Framing Canadian Visual Culture,” 3.

“... create a professional class of artists to ensure the international stature of Canadian art; and to improve the taste of Canadians of all classes.”
- Whitelaw, “Art Institutions in the Twentieth Century: Framing Canadian Visual Culture,” 3. 

“preserve and promote the heritage of Canada and all its peoples throughout Canada and abroad, and to contribute to the collective memory and sense of identity of all Canadians.”
(1990 National Gallery of Canada Act) 

To preserve and promote the heritage of Canada and all its peoples throughout Canada and abroad and to contribute to the collective memory of all and sense of identity of all Canadians’ 10 Nations Gallery of Canada Art ( Ottawa ) 

William Brymner was born in Greenock, Scotland in 1855. In 1857 his family moved to what was then Melbourne, Lower Canada and then to Montreal in 1864. He undertook studies to become an architect and then became a full-time painter. 

William Brymner “Early Moonrise in September” 1899 

William Brymner “October River Beaudet” 1914 

William Brymner “Afterglow” 1913

In both Europe and the colonies,” Philips notes, “the creation of public museums and the installation of exhibits that inscribed Eurocentric metanarratives of the historical development of art and culture...were instrumental in disciplining publics to particular regimes of power and constructs of nation and citizenship.” Philips, “A Proper Place for Art or the Proper Arts of Place?” On Aboriginal Representation in the Gallery, 45. 


Horatio Walker

Born in Listowel, Ontario in 1858. Painted the types of rural subjects that he first saw on a trip to Europe in 1882. He established a residence in 1888 on Île d'Orléans in the village of Sainte-Pétronille where he painted the idealized forms that he saw in Europe. 

Horatio Walker “Oxen Drinking” 1899 

Horatio Walker “Ave Maria” 1906 

Horatio Walker “Les-labours” 1901 

Homer Watson

Homer Watson was born in 1855 in the village of Doon in southwestern Ontario. Influenced by the Hudson River School of nearby New York state. Recall what Ruth Philips says about the ways in which we negotiate between local & global forms of knowledge & value.

Homer Watson “Near the Close of A Stormy Day” 1884 

Homer Watson “The Pioneer Mill” 1878-79 

Oscar Wilde called Homer Watson “the Canadian Constable” and a living embodiment of “Barbizon without ever having seen Barbizon.” Oscar Wilde as quoted in Foss, “Into the New Century,” 22. 

John Constable, The Hay Wain 1821 

Homer Watson “The Last Day of the Drought” 1880 

Homer Watson “The Flood Gate” 1900-1 

Bannerman was born in Halifax, Nova Scotia in 1855. In Halifax she studied with Forshaw Day before going to Paris where she studied with Auguste Feyen- Perrin and Edouard Krug. She was the first woman to be elected an Associate of the Royal Canadian Academy (RCA) in 1882. 

 Frances Jones Bannerman “The Conservatory” 1883 

Hypothetical comparison:

Frances Jones Bannerman “The Conservatory” 1883 (left) & Edouard Manet “In the Winter Garden Sun” 1879 (right) 

Frances Jones Bannerman “Vase of Peonies” 1888 

William Blaire Bruce

Born in Hamilton, Ontario in 1859. Studied at Académie Julian in Paris, France in 1881- 82. 

Chapter 2 : Into the New Century : Painting circa 1890-1914 Brian Foss.

Barbizon & Hauge School 

National Gallery of Canada, Royal Canadian Academy Exhibition. 

Major collectors donated collections to various galleries eg. Art Gallery of Ontario. 

Grange former home of Harriet & Goldwin Smith:  The grange was donated in 1909 & 1910  

Life Drawing Class, The Ontario School of Art, The Grange 

Frank Gehry’s south wing overlooking the Grange and Grange Park. 

Jean Francois Millet - The Gleaners 1857- Tonal qualities and colour Barbizon School 

Anton Mauve - The return of Flock 1886-87 Sheep walking away from the perspective of the shepherd towards the horizon. Reacting against the Academy who idealized the monarch. Capturing the light and the landscape. 

William Brymner - Was born in Greenock, Scotland in 1855. 

In 1857 his family moved to Melbourne, Lower Canada and then to Montreal in 1864. He undertook studies to become an architect and then became a full time painter. William Beymner was an important teacher that conducted movements and artists following his time. 

Early Moonrise in September 1899, pastoral depiction of sheep under a tree, cool colours accented with warmer tones on the focal point at the centre of the canvas. The painting has an eerie haunted aesthetic. October River Beaudet 1914 Warmer tones on a landscape painting, in the background there is a man in a green boat. White has been added near the horizon near the trees to bring the eyeliner through the painting. Afterglow 1913, Brymner : The arrival of world war one, changing ideas of enlightenment. Brymners work fell out of style as people were discontent with the figurative nature due to the shock of the war most of Europe was devastated by the occurrence of the war however Canada was unaffected and therefore the fashions changed in Europe separate from the standards of North American Style. 

Horation Walker 

Born in Listowel Ontario 1858 

Painted the types of rural subjects tat he first saw on a trip to Europe in 1882. He established a residence in 1888 on Ice D’Orleans in the village of Saint- Petronille where he painted the idealized forms that he saw in Europe. Horatio Walker, Oxen Drinking 1899 : Countryside of Quebec green forest landscape featuring proletarian Quebec citizens in the countryside . Ave Maria 1906, religious painting of Christ on the cross, two worshippers to the right of the canvas in a silhouette. Horatio Walker Les- Labours 1901, landscape painting. 

Homer Watson was born is 1855 in the village of Doom in southwestern Ontario. Influenced by the Hudson River School of nearby NewYork State. Recall what Ruth Phillips had noted. 

Homer Watson : Near the Close of A Story Day 1884 The depiction of a Canadian landscape, two cows to the right of the painting and a fallen tree. The pioneer mill : 1878 - 79 sold to the governor general. 

Oscar Wilde called Homer Watson “ The Canadian Constable” and a living embodiment of Barbizon without ever having seen Barbizon.” Into the New Century 22. 

Similar to Watson, 

John Constable the Hay Wain 1821, known for his landscapes. The weather was often depicted in the clouds. Au plain air watercolour sketched used for watercolour. Watson : The Last Day of the Drought 1880. The Flood Gate, Homer Watson “ The Flood Gate” 1900, dark ominous painting depicting the trees and the sky. 

Frances Joan Bannerman 

Born in Halifax Nova Scotia in 1855, in Halifax she studied with Forshaw Day before going to Paris where she studied with Auguste Feyen- Perrin and Edouard Krug. She was the first woman to incorporate impressionism and natural light. 

The Conservatory 1883. 

 A young woman in a blue dress reading, amongst plants. Painted paying attention to the light in a conservatory or garden. Comparable to Edouard Manet : In the winter Garden Sun 1879. 

Vase of Peonies 1888. 

Notable arthritis, one of her last paintings. Flower still life on table. 

William Blaire Bruce 

Born in Hamilton, Ontario 1859. Studied at Academie Julian in Paris France in 1881-82. 

The Rainbow 1888, a rural scene depicting a forest wildlife landscape with a rainbow. 

Open Air Studio 1885-90 depicting a woman facing away from the perspective, working at a canvas  at  a landscape on a balcony. 

William Blaire Bruce “ Setting Moon, Bruce” 1900- 06 

Minimal abstract painting of the horizon and the setting moon, appears to be a colourfield painting although figuratively also depicting clouds and a pink sunset. 

Mary Heister Reid

Born in 1854 in Reading, Pennsylvania. Studied at the Philadelphia School of Design for Women (1881-1883 ). Reid continued her studies of the fine arts until 1885. Reid enrolled in the Academic Colarossi in Paris in 1888. * Married George Reid in 1885, another great Canadian painter 

Chrysanthemums a Japanese Arrangement 1890/1900 

A vase of orange flowers in a dark setting with a Japanese print or calligraphic painting to the left of the arrangement. You can see the darkness in the pigment, the vase is blue and white and reflects the light. Well traveled and cosmopolitan as she features external countries ideologies example : the meaning of Chrysanthemums in Japanese culture. 

Nightfall, 1910 

Snow on the ground in an evening setting, the sunset and lights glow through the silhouettes of the houses and trees that accents the darkness of the painting. Strong movement in the 19th and 18th centuries.

The Inglenoon in My Studio” 1910 

The painting of modern contemporary world displaying the city, the perspective of refinement within the indoor setting of a parlour or studio. The painting depicts the optical illusion of canvases in a room while the nature of the painting looks more like a parlour. 

Maurice Cullen : Logging in Winter, Beaupre 1896 

The painting has a classical quality in regards to the the sky and the light on the trees and the snow. The yellow light on the trees and the horizon reflect the light of the trees and the hill in an impressionistic manner. 

Montreal, Old House 1908. 

Depicts a gloomy attached home in Montreal in a snowstorm, the painting although painted in 1908 seems to transcend time as the representation of the home would still appear modern in contemporary day and time. 

William Henry Clapp 1879 Studied at the art association of Montreal, had a 6 month stay in nyc, Later moved to Oakland in California. Is still considered a Canadian artist. Served as a director until 1952.  In the Wings N.D 

Depicting women on a stage the use of a wide colour palate. 

The New Church 1910 

Pointillism style, depicting majorly in a cold blue and green colour palate using warmer tones to depict the focal point. 

Helen Galloway McNicol 1929 

McNicoll was born in Toronto, Ontario 1989. Her parents collect Barbizon and Hague School Art. She studied with William Bremymer at the Art Association of Montreal. 

The Shadows of the Tree 1914 * 

A woman in a sled sitting under an umbrella with a baby, and a blanket reading a book. The lower part of the canvas depicts shadows and the upper part of the canvas depicts light and warmth. 

The Foot Bridge, Venice 

Similar to an impressionistic style. the shadows echoing purple and blue while the sun reflects the ochre and yellows of the buildings. 

The Orchard 1910

Compositional structure, emphasis on architecture behind the orchard specifically the rooftop of the houses in the background along the horizon. 

George Reid 1899

Born in Wingham Ontario in 1860. Adfer briefly apprenticing with an architect, he became a very successful art student under Robert Harris in Toronto. Reid continued his studies at the Pennsylvania Academy of the Fine Arts where he met his first wife Mary Heister in 1885. 

Mary Hiester Reid 1988  

Painting of his wife making bouquet of flowers and placing them into a vase. The painting is dark and eloquent. Earlscourt Library mural 1926 dark painting in a greyscale capturing the socio-economic nature of the Victorian conservative culture encompassing the parameter of the library. Socialist form of public art within a conservative space. 

The Family : Art was not an essential part of life, at the helm of Hasidic values. Identified scripture in the corner of the painting. 

Charles Huot

Born in Quebec 1855, demonstrated a talent for drawing very early on, copying landscapes form a book his father had given him. He left Quebec in 1874 at the age of 19 , to study with Alexander Cabannel.  

Charles Huot : Habitant with Pipe  

Sitting behind a water tank, very peasant like Quebec subject depicted in home. 

Le débat sur les langues- seance de’Assemblee législative du Bass Canada le 21 Janvier 1793” 1910. Lather painting depicting a législative courtroom with several politicians and documents in disarray. Conservative nightmare, liberal dream. 

Meeting of the Sovereign Council, Quebec Legislative Assembly 1913. 

Ozias Leduc Church of Notre Dame de la Presentation Shawinigan Quebec 1942 55. 

Large mural inside a church. Chapel in Bishops Palace 1921 - 32. 

Traditional European style, Chapel of the Bishops Palace 1922. Very interested in symbolist work. Not particularly interested in contemporary Canadian art. 

Group of Seven 

September 20, 2018

Founding members of the group of Seven include, from left to right FH Varley, AY Jackson, Lawren Harris, Frank Johnson, Arthur Lismer, JEH MAcDonald. Frank Carmichael ( founding member ). Image : Toronto 1920 Dominated Canadian art from the 1920s to the 1930’s 

Formed the CGP Canadian Group of Painters 

A.J Casson was invited to join the group in 1926 

Tom Thompson drowned in Algonquin Park in 1917 and is also in the group. 

J.E.H MacDonald was born in Durham England in 1873, immigrated to Canada with his parents when he was a teen. Of the painters that formed the group of seven, he was the had the best training. Studied at Hamilton Art School in 1887 and later at the central Ontario School of Art & Design in Toronto. 

J.E.H MacDonald : A Rapid in the Night 1913. 

Trying to escape from the industrialized image of society. Sketching outside in the winter and bringing his drawings indoors to canvas. Reflections of the sky in the water, impressionistic style. 

Gained dominance in the art industry through the group of the seven, foliage in the background also very impressionistic style. Loosened colour palate, beautiful painting that portrays the impression of the image. 1913 Scandinavian painting style seen in the work. 

“ Except in minor points the pictures might have been Canadian and, we felt, This is what we want to do with Canada.” - JEH MacDonald, Scandinavian Art “Northward Journal. 

Scandinavian artists also responding to the rest of Europe as Canada also has had to capacitate. Responding to European tradition to identity and tradition.  

Contemporary Scandinavian Art Albright Art Gallery, Buffalo NY, 1913. 

Representing the country, eg. Denmark or Norway. 

Contemporary Scandinavian Art, Albright Art Gallery, 1913. 

Scandinavia as part of western Europe although since 1900 only exposed to various practices that the rest of Europe was exposed to. Perceived as untrained and wild, undisciplined and not particularly part of society. 

Emerged out of international realism, interdependent development. Lauren Harris eg. opinionated and had a huge impact on societies perspectives and opinion. 

JEH MacDonald The Solemn Land, 1921. 

Canadian Landscape Painting. Fiery bursts of colours the painting changes colour slowly, master designer and calligrapher and was taken very seriously. Fascination with the landscape. 

Many of the components of the dark outlines exposed in the painting refining the forms. Representing the majesty of the Canadian North. Shadow cast from the clouds and the sun shining though representing sublime beauty. 

Lauren Harris born in 1855, born in Brantford Ontario. 

He studied in Berlin Germany from 1904 -1908. Principally known as a landscape painter, he also produced two portfolios of portraits and was the only member of the group to consistently paint urban subjects. Construction and study of studios in Toronto AY Jackson and Dr James McCallum. 

Lawren S. Harris “ Red House and Yellow Sleigh” 1919. 

Post impressionist phase of his career. Continued throughout his career depicting urban scenes of Toronto and various other urban landscapes. Uses a very bright colour palate and loose brush strokes and shadows on the white snow. Typical of Lawren Harris’s later work. 

Lauren S. Harris “Reflections, Sand Lake Algoma" 1922. 

More severe colours, graphic nature in the design. Loose brushwork is fluid and conferred. 

Lawren Harris “ North Shore, Lake Superior” 1926 

By the 1920’s had become increasingly somber, flatter forms. Almost solid colour fields, the light breaks the clouds, ect. Lake in the background. His later work becomes much more stylized and becomes more predominant towards the end of his career. 

AY Jackson

Was born in in Montreal Quebec in 1882. Jackson’s early art training was partly on the jobs he worked at various lithography firms in Montreal and Chicago. He was intrigued by Fine Art he studied with William Brymer, ect. 

AY Jackson Terre Sauvage 1913

William Bremners influence in early years of Jacksons career.  Representing the boreal forest up north. Attention to sky, the clouds and the Canadian Landscape as you can see the hint of a rainbow to the left of the painting that is exposed through the clouds. 

AY Jacksons March Storm 1920

A series of browns and greys with some whites, very gloomy. He pushed away from the influence of Bremners style in his later works. 

Arthur Lismer 1885 in Sheffield England where he studied before moving to Antwerm Belgium. He moved to Toronto in 1911 where he worked at Grip Printing & Publishing. Lismer was named vice principal of Ontario College of art in 1919. Worked at the Victoria School of art and design in BC. 

Arthur Lismer, The Guides Home Algonquin 1914

North Shore of lake superior, very inspired by the impressionists. Looking at the painting he is deeply influenced by impressionism.

Bright colours, a play of light and shadows, exquisite display of light on the leaves in the trees. Moved the art of landscape and displaying the art and quality of national character. 

Arthur Lismer, Quebec Village 1926

Light of the field, land formation in the field itself. Developed his own impressionist style and brushwork. The painting displaying the buildings and the middle style, details and the foreground. 

Fredrick Varley was born in Sheffield England in 1881, Varley followed the path of Arthur Ismer and Studied at the Sheffield School ofArt and the Academy Royale des Beauxx Arts in Antwerp Belgium. He immigrated in 1912 to work as a graphic artist in Toronto. Moved to Vancouver BC after spending time in Vancouver. Head of department of drawing in paining in Vancouver. 

Frederick Varley “ For What ?” 1918 

Trying to illustrate his painting, critically acclaimed and gave him prominence in contemporary painters in Canada at the time. Somber and muddy, muddy puddle that reflects the sky. The grey sky and graves and a pile of bodies. White crosses marking the graves of the dead. Philip Gasta and 1960 America. A beautiful painting of Varley depicting the human sense of desolation. 

Frederick Varley “ Self Portrait” 1919 

Green blazer jacket, depicting a portrait of himself painted in a rough impressionistic style resembling VanGogh. 

Frederick Varley” Stormy Weather Georgina Bay 1920 

Flatness of colour usage, tree on cliff on horizon. Expressive outlines depicting the elements in the painting and an expression of how the wind is bending the pine. North Eastern bay of Lake Huron. The way that the trees capture the wind and how the background reflects the sun and the sky. 

Frederick Varley “ Night Ferry Vancouver” 1937. 

A man and a woman standing on the ferry to the right, a huge amount of colour. Yellows and reds. The colours come out in the water and in the sky. A man to the left with his hand in his pockets looking into the horizon near the centre left of the frame. The painting was unlike anything painted in Canada at the time. 

Franklin Carmichael born in Orilla Ontario in 1890. He apprenticed at Grip Printers& Publishing in Toronto in 1911, while studying evenings at the Ontario College of Art and Toronto Technical School. Shared a space with Tom Thompson. 

Franklin Carmichael “ Mirror Lake “ 1929

Traveled to Lake Superior with AY Jacksons and Tom Thompson. 

Sketched in Watercolour, the finished painting. The hills and the trees painted, the images are very flat effecting the overall form. The colour was exquisite, somber landscape and glowing with vitality through his use of colour. 

Franklin Carmichael “ A Northern Silver Mine 1930. 

Particularly interested in the mining industry. Capturing the stillness and isolation of a mining camp, though the colour choice and the angularity of the forms. The landscape emerges from the snow. He is capturing the spring melts and the water, the spring running through the hills into the larger body of water. 

Frank Johnston was born in Toronto Ontario, like many other Group members he joined Group Printing & Publishing as a commercial artist. Johnston was an original member of the Group but his association was brief. Ended his association with the group of seven having a negative impact on himself. 

Frank Johnston “ Fire Swept Algoma” 1920 

his work was focused mainly on light representing disasters. Flat planes of colour and his misuse of colour on a dark outline, silhouettes of burnt trees on the background. The connection of the burnt out tree on the background. 

AJ Casson was born in 1898 in Toronto Ontario. He was invited to join the group in 1926 after Johnson left. He studied art in Hamilton Technical School in 1913 and at Central Technical School in 1915- 1917. Landscapes, forests and farms in southern Ontario. Flat painting and the brushwork was very smooth and very tender, the oil paintings were basically presenting solid forms of colour. 

AJ Casson “ Anglican Church at Magnetawan 1933 

Capturing the smallest and drawn details of Canada, colour blocking and form. He's sharing the slow painting of the Canadian landscape. A simple white outline of a church. Ochre tones and greens representing the wilderness, the trees are stylized and very flat. The sky itself is very abject, the clouds are very loose and undefined typical of his style. 

Tom Thompson, born in 1877 near Claremont, Ontario. 

Between 1901 and 1905 he works in graphic arts companies in Seattle, Washington & Toronto Ontario. 

1919 starts working at Grip Printing & Publishing where he meets JE H MacDonad, art lister, Frank Johnston and Franklin Carmichael. With the help of Dr. James McCallum was able to continue to paint.

Smaller fiberboard 20 x 21 inches he would work on small sketches. He would pick up sketches and thin canvasses. 

Worked through Algonquin through the key influences and when he died the group became distressed. 

Tom Thompson “ Advertising Drawing : 1912” Influenced by Art Noveau. Stylized form and graceful composition. 

Tom Thompson “ Sketch for the ‘Jack Pine “ 1916. Often painted while fishing usually in a canoe which is why he died due to multitasking. The jack pine 1916- 17 taught to depict the Canadian rockies, stylized branches. Flat areas of colour, flat water flat skies, a northern shore. Produced about 50 large paintings. The sky, the land and the water. Had a very formal structure that marketed the sketch. The painting made the lines darker and starker, lowering the hills and raising the skyline. 

Alters the light and the colour. The finer paining is much more controlled, the colour is altered as is the light. 

Emily Carr, Was born in Victoria, British Columbia in 1971. British Columbia in 1917 and moved to San Fransisco in 1990 to study. From 1899 to 1904 she went to England to study at the Westminster School of Art in London and then spent time at various artists colonies in Hertfordshire and Cornwall. 1910 Carr Studied at the Academy Colarossi in Paris

Took her sketchbooks and watercolours and her various instructors. “ Pictures should be made in the soul of the artist, extract … 

Emily Carr “ Cumshewa 1912 

Captured the lushness of BC surroundings. A house surrounded by various totem poles. Woman and children sitting on the beach, where the beach meets the forest. Expressive with a lot of brushwork, resembles the almost an abstract experimental style. The paintings actually showed her desire to paint more expressively. Wanted to document accurately the nature of the culture more accurately and would like to preserve the idea of the culture amidst the notion of “ the vanishing Indian” 

Emily Carr “ Tanoo QCI” 1913  

The nature of the landscape in BC, the painting depicts the paintings that represents the culture through totem poles. At the same time very expressive in doing so. Representing Haida crest poles representing a specific person in their height of culture. The cedar in the background represents a solid form. She hi lights the trees and the grass that comes out in the implication. The house is grey in modulation through various colours. The grass is blowing in the wind and is contrasted by the form of the totem pole in structure and form. Solidity in form. 

Emily Carr “ Totem Walk at the Sitka” 

The primitivism that dominated modernist painting. Primitivism is the belief that the art is the nature of the primitive societies that comes out in the work. She confirmed her belief that the carving represented in the work had great aesthetic value. This totem pole had very valuable aesthetic quality. The artifacts were developed in the depiction and representation in the painting in the way that she paints the pathway walk. In the way that she depicts the painting representing Tlingit. The community created the walkway far away from the village to separate the village from the tourists. 

“ Carr invests the reins of her country, Canada, with a meaning that has to do with her national identity, not the national identity of the people who won the poles. The issue here is that the induction of First Nations peoples history and heritage into institutions as a lost Canadian heritage should be considered within the context of the colonization of aboriginal land.” 

• Marica Crosby, as quoted by Moray, Emily Carr” 66. 

Emily Carr, Yan Q.C.I, 1912. 

Vivid bright canvas, you can see the influence of impressionism. You can see the sky and the totems. The brushwork is very spontaneous, the foliage the details drawing the flowers. The way she depicts the lilacs through her use of colour in her depiction of Queen Charlotte’s island. 

Emily Carr “ Indian Church” 1929 

Situated at the AGO, hypothetically renamed. A mixture of nature and civilization, the nature is overwhelming the church almost oppressively. Organic nature of the trees though the shape of the form, almost a cubic nature of shapes and the impression of overwhelming trees. The giant decoys trees out west are huge and she represents this successfully because the forest overwhelms everything. Primary British settlers in the community, the human element of the white church. Reoccurring settler motif, emphasis in Canadian literature as to how hostile the natural environment can be. 

Emily Carr “ Blunden Harbour” 1930 

She was included in the national gallery exhibit with this painting. After participating in the program she met Lawren Harris who was a great supporter of her work. The NGO exhibit in 1967 transformed her life and artistic practice. The water reflects green and blues though the emphasis of smooth geometric shapes. Lawren Harris represented spiritual presence. 

Emily Carr “ Zunoqua of the Cat Village” 1931 

The painting is depicted fluently using a representation of the indigenous culture as subject. She became very painterly and it was very stylized using geometric form. This is a good example of Emily cars geometric form through the village and the depiction of cats. 

Emily Carr “ Scorned as Timber, Beloved of the Sky 1935 

She couldn't always afford good paint, so in her earlier years she was using cheaper household paint that she diluted using gasoline. The painting depicts a tall tree, the tree trunk is 1/6th of the canvas and the brush is at the very top resembling a palm tree. Watered down images, the later work during this time she develops the mastery of movement and spontaneity where she reaches the height of her spontaneity. The whiteness of the paper embodied the lightness of the scene and landscape. 

Emily Carr “ Heart of the Forest” 1935 

The geometric form where the work becomes very fluid and very expressive. The house paint is diluted and takes on the a form similar to watercolour. She began to branch out and it became very important because of the energy and the essence of natural beauty depicting the darkness and structure of the tree through the new technique. 

Emily Carr “ Totem and Forest” 1931 

The depiction of a pole on the east side of Hiellen River, raised in 1820, painted in 1931. The totem pole represents something similar to the Indian church. The forms that are springing out through the surroundings in the natural environment. It was 111 years that the totem pole had been raised that she had later painted it. 

Modern Art in Canada

Thursday September 29th 

Colour Theory 

In 1676 Sir Issac newton, using a triangular prism analyzed colour theory. 

These colours are arranged into what is known as a colour wheel, in this case a 12 part colour wheel with primary, secondary and tertiary colours. 

The sequence of colour is that of a rainbow or natural. 

Colour Theory 

Primary Colours

• Yellow 
• Red 
• Blue 

Secondly Colour 

Mixes between to primary colours 

• Orange 
• Green 
• Violet ( purple ) 

Colour son opposite sides of the colour wheel are complimentary, presenting these opposing colours together is known as complimentary contrast 

-The main complimentary contrasts using primary and secondary are between 

• Yellow and violet ( purple 
• Red and Green 
• Blue and Orange 

“ There now exists in cCanada a group of painters who are far from academic in their views or work yet owe no allegiance to the group of seven. The change signifies a break with the landscape obsession has dominated unacademic painting for ten or fifteen years and academic painting for forty or fifty years before that, by placing emphasis on form instead of atmosphere or on rhythm the third movement in Canadian painting will inevitably bear a closer relationship to the modern movement in other countries.” Bertram Brooker, as quoted by Carney in Modern Art, the Local and the Global. 1930 - 50” 

Canadian Group of Painters 1933 

Beaver Hall Group ( 1920 - 1922 ) 

A group of artists, women and men shared studio space at 305 Beaver Hall Hill in Montreal. They worked, taught classes, exhibited and met to talk about art. 

The group came into being in 1920, they never wrote a manifesto. one of the first artists groups in Canada where women played a key role and were considered professionals.

The goal of the Beaver Hall Group was “ ;to give the artist the assurance that he can paint what he feels, with utter disregard for what has hitherto been considered requisite to the acceptance of the work at the recognized art exhibits in Canadian centres. Schools and isms do not trouble us as individual expression is the main concern. : A.[ Y Jackson ( Montreal Gazette, 18 January 1921 ) 

 Canadian Group of Painters 1933 

Came out of the group of seven, interested in fostering more attitudes. There were accusations towards the group of seven towards the NGO. Too many exhibits towards the group of seven and declared discrimination towards people who were not in the group of seven. 

Prudence Heward ( 1896 - 1947 ) Prudence Heward was born in Montreal in 1896. GHeward studied at the Art Association of Montreal under the guidance of William Brymer who was influenced by various schools of French Modernism. 

While at AAM she met other artists such as Sarah Robertson, ect. ** 

Encouraged by her succeed she traveled to London in 1925 to study art. Heard then moved to Paris and classes at the Academic Colarossi, She also studied drawing at the Ecole des beaux-arts. 

Prudence Heward “ Rollande : 1929 

Williman Bruner was her teacher, learned more about colour then anything else. She was known for painting women in rural settings. in this painting a young woman standing with her hands on her hips wearing a pink apron. Physically separated form the farm by the fence and her attitude, symbolically turning her back on the past. Her eyebrows are painted down, avoiding the gaze of the painter. 

Prudence Heard “ Girl under a tree : 1931 

Painting of an androgynous woman under a tree, she hung this in her bedroom. Lying nude in a wilderness area. The buildings in the background are painted in a cubist style, AY Jackson noted that this was the best nude ever painted in Canada. There was mild controversy. The plant life is also very minimal, the buildings behind her have windows so they are moderately undeveloped in the background. The well modelled body and the undeveloped buildings in the background create a high contrast. 

“ Weather one styles her work as modern or not is of little moment - it is little characterized by draughtsmanship ..> “ See slides ** 

Prudence Heyward “ Rosarie “ Rosarie” 1935 

Shimmers in the stylistic painting resembling Impressionism, influenced by matisse, vangogh. The painting also has a high light dark contrast. Responding to the modern language, the composition and style. 

Prudence Heward “ Farmers Daughter” 1938 

Her other painting of the land, well defined expression on the paintings face. The background gives us the impression of the building and the landscape. The girl and the background also depicts the buildings and the landscape. 

Prudence Heward “ Girl in the Window” 1941 

Glass separating the girl from the outside world, the building in the background indicated the working class. Working class neighbourhood, black women in the 1930’s and 1940’s Montreal. The woman is represented as a girl although she appears a nude black woman in the visual depiction in the image. Like most women painted by Heward, she is really absorbed in her own understanding of the female form. 

Prudence Heard : Dark Girl 1935 

Issued by social platform, gender and race. Fully developed nude woman hiding her form with her arm. Resembles matisse, interesting because she paints a black woman sitting on the ground in a jungle background. Melancholic appearance. 

H. Mabel May, ( 1877 - 1971 )  Born in Montreal 

Studied with William Brymner at the Art Assocaiation of Montreal ( 1909 - 1912 ). After her studies she went to Paris where she was particularly influenced by the impressionists. 

H. Mabel May : Women Making Shells” 1919 

Women building shells for ammunition for the war. The way that the painter represents the light, hidden from the light. Textured brush fit. Woman from working in the sun scenery. Attempting to represent women in the factory in 1916 building munitions ( shells) especially for Canada because women work outside the home had to be made acceptable through female identity which should be portrayed as strong and independent. 

H. Mabel May : View from My studio University Street, Montreal” 1925 

One of the things that started Canadian painting was urban landscape. This shows the views from a studio window. Whats interesting in this painting is the extension of the studio. 

H. Mabel May : Near Beaie St. Paul Winter 1927

The isolation of St Paul in the winter. The complimentary aesthetic of blue and yellow, contrasting the nature of culture in the houses and the snow. A.Y Jackson was important because the unique. Contrasting the old mountains and the sky. 

H. Mabel May : Indian Woman, Oka nd.  

The beautiful dark background in the dark light. Her hair is pulled back she is wearing a dark brown garment. The flat plain cloak, the background is undeveloped. Naturalistic in presentation of bone structure, impressionist style. The very beautiful texture in facial lines. 

Lilias Torrance Newton ( 1896- 1980 ) 

Studied at the Art Association of Montreal studying under William Brymner. Founding member of the Beaver Hall group participating in its first exhibition early in 1921. Newton was elected as the associate of the royal Canadian academy. When was she was made a full member in 192, she was the third woman to gain such recognition. 

Lilias Torrance Newton “ Nude in the studio” 1933 

Bright green shoes, nude standing in a studio.  First painting to be shown with a woman who had pubic hair as most women were painted nude. Very solutions and disgusting painting, the AGT received so many complaints about the green sandals, pubic hair and green lipstick. Overall created a controversy and the gallery had taken the painting down. 

Liias Torrance Newton ‘ Eric Brown’ 1932 

Eric brown commissioned her in 1931 to paint his portrait. He sits with his hand across his leg.  

Lilias Torrance Newton : Lawren Harris” 1938 

Procliamed to be one of her best portraits, 

“ Its impossible to jump into a portrait. It makes time to make up my mind about the best, most attractivece pose, and as I sketch …

Lilias Torrance Newton “ Portrait of Queen Elizabeth “ 1957 

Found it difficult to portray her personality, 

Sarah Robertson 

Born in Montreal in 1891, at the centre of the group of woman. She studied at the Art Association of Montreal with William Brymner, Maurice Cullen and Randolph Hewton. Some of her paintings. 

Sara Robertson : The Red Sleigh “ 1924. 

What she saw on the daily walks. As she documented the landscapes she would document the colours. Her paintings had a dual-like quality and expressive use of colour. The horse is green contrasting the red of the sleigh. Struck by the use of colour, the simplified form. 

Sarah Robertson “ Joseph and Mary Louise” 1930 

Vivid use of colour, variations of greens and blue, lilac and shading. A couple depicted in front of a cross. The sky opens to poetry and empaszse the cross. 

Sarah Robertson” Fort of the Sulpicaian Seminary “ 1931 

Roberts studio, what is intriguing about the paining is the particularities. She painted what was easy to access which was whatever she had in the studio. 

Sarah Robertson “ Pink Tulips, Montreal “ 1942 

Flowers in the foreground on what appears to be a winter cityscape. Outside is cold so the contrast in the climate and the temperature, very pretty tulips contrasting the winter background outside the window. What they see from their studio windows, the pertaining become almost more about the high contrast in utilitarianism and the act of painting. 

Kathleen Munn ( 1887 - 1974 ) 

 Born in Toronto in 1887. In 1912 Munn began studies at the Art Students League ( ASL in New York - the renowned modern art school established in 1865 by artists for artists. Classified as one of the most advanced women in Canada. She stopped making art at a young age, the lack of recognition for her work. Her work was show at a later age. 

Kathleen Munn Untitked, ( Cows on a hillside ) 1916 

Very unusual colours, very abstract pointillism. The paintings from 1910 onwards, the animals grazing. She studied in NYC and was exposed by more advanced art then what was happening in Canada. 

Kathleen Munn “ Collected Notebooks” ND 

Collected notebooks that she used to define form. Used colour to define the more major definitions of her painting. There are three or four stylized nudes. 

Kathleen Munn “ The Dance” 1923 

Collecting classic images of the nude, her own artistic ambition and what would be classified as modern art. Matisse’s dance is comparable. One of the things that are definable are rhythm and composition. 

Kathleen Munn : Composition ( Horses ) 1927 

Composition is more important the colour in this painting, music and painting in this work. 

Kathleen Munn “ Mother and Child” 1930 

Human composition creating most of the composition in the painting. Canada was not ready for her advanced dynamism. 

eg. Kathleen Munn “ Last Supper” 1938 

Studies for a final work, in her later years she was much more focused on composition then colour. the sketch is centred and has a strong element of cubist aesthetic. 

Housser studied at the Ontario College of art from 1915 to 1920. 1921 she studied in Paris  at the academy La Grande Chaumiere, the Academy Colarossi and the academy Branson. She returned to Canada i19 1922and continued to to each at the Ontario Folic of 1949. 

Yvonne McKauge Housser “ The Half Breeds House” 1928 

Hap-hazard construction of building, very cluttered and busy composition and colour field is ocher-yellow red and green in nature. Stereotypical and critical perspective on native American culture. Sunflowers, some lines in the background depicting natural environment. 

Yvonne McKauge Housser “ Cobalt” 1931 

Depiction of a mining town, a rapidly built settlent that ‘ had seen better times’. Rickety houses that are not very well built. Very hap-hazard settlement that is starting to fall apart. The painting is hi lighting the centricity and how the natural environment is disrespected. None of the houses are properly square. There is neglect. There is a northern mining town and the northern atmoshere appears to be oppressive. 

Yvonne McKauge Housser. “ Deserted Mine Shaft, Colbalt” 

The mining shaft blends into the skyline, same colouration. Mine shaft building on a grey sky. 

Yvonne McKauge Housser “ Marguerite Pilot of Deep River I Girl with Mulleins 1932 

The plant depicted behind the first nations woman is standing beside this plant ( Muellins ) that was used as medication and also used to make baby diapers. The plant is the same colour as her dress and the combination is soft and beautiful cool warm, she is posing behind the penatangore river. 

Yvonne McKauge Housser “ Spring in the Studio “ 1948 

Beautiful warm interior, plant in foreground and a snow covered orchard in the background. 

Bess Housser Harris ( 1890- 1969 ) 

Born in Brandon, Manitoba in 1890. She was connected to Lawren harris and were despised because of the prostistant demeanour. Harris took a few lessons from FH Varley. 

Bess Larkin Housser Harris “ Day’s End “ 1928 

Focusing on cobalt, not trying to paint realistically. Painting the atmosphere, the boards along the edge. The suburb turned to mud. The mining town the fences and the trees and surroundings are decrepit and on an angle. The best part about the scenery is the sky that is an ochre and stylized presenting a sublime nature. 

Bess Larkin Housser Harris, Old mine shaft, Colbalt 1930. 

Abandon mine shaft that was not financially sustainable. The surface of the land, ect. closed due to financial struggle. 

L.L Fitzgearld 

Born in Winnipeg in 1890, studied at A.S Keszthelyi’s school of fine arts in 1990. Fitzgerald replaced MacDonald in the Group0 of Seven after his death in 1932. He went on to becom a founding member of the Canadian Group of Painters. 

L.L Fitzgerald Poplar Woods  ( poplar ) 1929 

Meticulous detail almost abstract and non descript in nature. trees and horizon visible through a the poplar grove. This would consist of flat and overlapping trees, foreground and background. careful composition, bold and unnatural colour palate of the Canadian landscape all in gold. 

L.L Fitzgerald. Dead Trees; 1930. 

Similar to Poplar Woods, except drawn. 

Edwin Holgate ( 1892 - 1977) 

Born in Allandale, Ontario in 1892. Holgate studied at Art Associatino of Montreal with Maruice Cullen and William Brymner before moving to Paris to further his studies. he was a key member in the Beaver Hall Group in 1920. His work was included in several group of seven exhibitions. 

Edwin Holgate “ Tsimshian Chief ( Samuel Gaum ) 1926 

Very few artists recorded the names of the subjects. The nature of the colour of the headdress is the only colour in the image. The nature of the headdress is the realistic structure abstracted by the red in colour. 

Edwin Holgate  “ Chief of Gitxan Wii Hlengwah “ 1926 

Very fine detail in the drawing, the face of the figure is the only notable colour. 

Edwin Holgate : The Trapper 1929 ( left ) 

Edwin Holgate : 1929 Right 

Two figures similar in contrast one is the charcoal drawing one is green. 

George Pepper ( 1903 - 1962 ) 

Pepper was born in Ottawa in 1903. Studied at OCAD in Toronto 1920- 1924 ) 

Also studied at Academic de la Grand Chaumiere in Paris. Was practicing through the war, painted and recording WW1 & 2 

George Pepper : dead german paratroopers 1943-46

Grotesque and depressing painting of dead soldiers in a trench. 

George Pepper : Totem Poles at Kitwanga 1929 

Painting of the totem poles from the side and from the back. The eye is drawn into the landscape most of the work is dark and moody. 

George Pepper “ Normans Cove, Newfoundland” 1950 

The landscape is undeveloped and calming. Rocks along the east coast. 

Elizabeth Wyn Wood ( 1903 - 1966 ) 

Born in Orilla, Ontario in 1903. From 1921 to 25 she studied at OCAD where she studied with Arthur Lismer, JEH McDonald and Emanuel Hahn. She was fixated on the landscapes of Georgian bay where she grew up. 

Sculptural form is tnoththe imitation of natural form any more than poetry is the imitation of natural conversation… While a piece of sculpture may contain visual forms with which we are acquainted by daily ecperience… ect. 

Mass and form in sculpture. 

Elizabeth Wyn Wood “ Dead Tree 1929. 

Sculpture depicting a dead tree pressed against a rock near a body of water. Art Deco stylization. 

Elizabeth Wynb Wood “ bas relief at Ryerson in Toronto 

Born in Toronto Ontario, in 1901. MacDonald began to study art under his father, JEH Maconald in 1919. Like his father Thoreau macondald began with sketches and illustrations, soonbecoming a popular illustrator. Thoreau MacDonald. Son of David Henry Thoreau and author of Walden. 

Tom Thomson “ Daydreaming” 1914. 

Boy relaxing in the grass, dressed as a boyscout. reclined placing his hand on his head. 

Thorueau MacDonald “ March Wind 1921 

books and magazines, illustrations and drawings. 

Thoreau MacDonald “ Snowstorm 1947 

print incorporated with paint. light blue tint to the snow in a well placed composition. 

David Milne ( 1882 - 1953 ) 

Born in Burgoyne, Ontario in 1882. Milne studied at the Art Student’s league in NY from 1903-05. Canadian army, and after returned to colour field painting. Milne was influenced by American expressionism, the work of Monet and matisse. very unique way of seeing and painting very simple subjects. Houses barns, flowers ect. 

David Milne “ Kelly of Ore Bed “ 1920 

 A series of watercolours, a favourite place for Milner through his collection. Iron Ore, you can see the way that the colour is used through the reflection. Dark colour palate. He was not satisfied with the final painting but he was interested by the texture of the lines. The painting actually depicts the trees and their reflection in the water. 

This openness is one of the things to be noted in using the texture. Unless one uses thin black lines and small spots of colour, thus leaving an unusual amount of white paper, too much colour witlll be washed off, obscuring the shapes. The velvety texture of the spots and particularly of the thin black lines is the interesting feature. 

David Milbne: “Dark Shore reflected, bishops pond” 1920

Reading and looking at the artwork through bishops pond 1920.

David Milne Boston Corners Landscape 1920 

He painted this canvas on location, p,124 ? Detailed landscape, the colouration of the landscape. 

David Milne “ Blue Cloud “ 1933. 

Just outside of Toronto depicting the neighbours house. All of the paintings were purchased by Vincent Massey for five dollars each when Milner was using only two or three cubes for colours. White and black and a little bit of grey. The colours of the paintings would catch the eye incorporating the blue cloud though capturing the sunset and the sunrise. 

Wild flowers on the window ledge I. 

Painted from his studio in uxbribdge, large window looking across the main part of the town. The newspaper office and painting up and down the street from his studio. What you can see form the studio is a bag of flowers that he had gathered form his walks in the countryside. The painting was an excellent example that describes the still life of florals, he does a number of flower stillifes. The flowers are very rich and vibrant. He gives most of the paper away in exposure and the town is depicted with very little detail through a sketch.

“ You have to keep firmly in mind my euse of black and withe values and hues - the values are the powerful weapons, used in large areas, the hues are weaker but more subtle tools, ect … 

Oil on canvas by David Milne, 

Built tiny shops and was the only person who lived on this lake. When he was first noticing the flowers he had picked ( trilliums ) he was interested in this specific composition with the large area of black and white. He makes excellent use of the black and white lines and negative space though the background. Red and greens and whites on a beige brown or taupe background. He created an intriguing drama in the use of light. 

** Quiz next week : five slides to study from. 

Missed Lecture

Paul Emile Bourdas 1905 - 1960

apprentice to Ozias Leduc in 1921. Studied at Ecole des Beaux Arts de Montreal in 1923 and in Paris at Ateliers d'art with symbolist painters Maurice Denis and Georges Desvalliers.

On Surrealism and Psychic Automatism

Verbal expression of the function f though which is exempt from control exercised by reason, aesthetic or moral concern " I was able to try out the investigative procedures of psychoanalasis on patients, recording their dreams and free associations which I then interpreted " Andre Breton interviewed by Andre Parinaud

Psychic Automatism

Under the pretence of civilization and progress we have managed to banish from the mind everything that may rightly or wrongly be termed supposition or fancy.

It was pure change that pair too our mental world, which we pretended to be concerned with any longer and in my opinion by the. most important part has been brought back to light.

Fir thus we nest give thanks to the discoveries of Sigmund Freud. Andrej Breton/ Sigmund Freud, influenced by Hopkins Dada & Surrealism.