Visual Arts of Canada

A collection of primary documents throughout the 20th and 21st century.

Canadian History Final Summative TaskBram MonsonCHC2DMrs. Glick05.06.15

ForwardCanada celebrated the end of the Great War with a decade of

optimism and prosperity. Due to Canada’s large effort both on the homefront and the battefront, Canadians had a growing feeling of self-confidence. The country was recognized as its own entity by the League of Nations, and its ties to the British Empire were weakened. The Great depression of the 1930s caused a decline in Canada’s art industry, as it was “an unnecessary luxury for most people” (Miller 2003). The difficult period brought artists to examine the social and political formalities surrounding them.

When the Second World War was declared in the 1939, Canada entered independent of the British Emipire. The Official War Artists program was re-established, and recruited painters from across the United States and Canada. These artists illustrated their first-hand accounts of battles and events throughout the war. A large portion of the works produced as part of the program are in a realist style.

The combination of a strong economy and optimism, resulted in a large population increase in Canada in the 1950s. Collective social ideas about life and art shifted significantly. In the 1960s in Quebec, a “quiet-revolution” took place, in which artists painted radical examples of abstract forms. This was an effort to challenge the authority of the Catholic Church, and gain more artistic and social freedom.

Throughout the 1970s and the 1980s, Canadian Aboriginal artists were accepted into the mainstream art community, and gained international recognition for their work. The final decades of the 20th century saw rapid economic, social and political development.

In the 21st century, the economy became stronger, the unemployment rate fell, and inflation dropped., and “Canadians flourished”. “Compared to the state of the arts at the beginning of the 20th century, it could be said that the arts in Canada at the end of the century were flourishing as well” (Miller 2003)

The following exhibition will examine the evolving styles of Canadian artwork from the 1920s until present. Importantly, the social, economic and political conditions within Canada had, and continue to have, a profound influence on the development of the artistic landscape.

The Historical Origins 1920 – 1939

In the years proceeding the Great War, Canadians experienced a time of optimism. Importantly, women acquired the right to vote, and Canada was moving towards independence from the British Empire. Canada’s large effort in the war and its participation in the peace conference at Versailles provided Canadians with a greater sense of national identity. These nationalistic feelings were reflected in the arts.

The Group of Seven were a group of strongly nationalistic artists that believed the “a country’s art had to flourish before it the country itself could grow.” Its members consisted of Lawren Harris, A.Y. Jackson, Fred Varley, Arthur Lismer, Franklin Carmichael, J.E.H. MacDonald, and Tom Thomson. Prior to the groups establishment in 1920, several of the members were good friends, who had been painting Canada’s northern regions together for many years. The group’s goal was to capture the spirit of Canada. They went about doing so by painting the distinct lush landscapes of Canada. While their early work initially received criticism, by the mid 1920s, they became accepted among the Canadian public and critics. Significantly, the group introduced Canadianism, an entirely new style of landscape painting. This style, for many, had come to symbolize Canada (Miller 2003).

Wild Mustard, A.Y. Jackson, 1920

LEFT: Oil on wood depicting the Ontario countryside of Brockville. Painted by A.Y. Jackson, the piece incorporates basic, curving forms and temperate color, resulting in a powerful and distinct image (Varley 2013).

Following Black Tuesday, and the devastation of the global stock market downfall, art sales became almost non-existent. Canada’s economic decline in the Great Depression was due to its reliance on exporting raw goods. Thus, many freelance artists were forced to become teachers or commercial designers to “make ends meet” (Miller 2003). Artists who were able to sustain themselves throughout the decade began to examine new styles such as regionalism and abstractionism. Within these styles, they commented on the political and social conditions that surrounded them, and the challenges of life for many Canadians (Miller 2003).

Sisters of Rural Quebec, Prudence Heward, 1930

RIGHT: Oil on canvass illustrating a predominantly geometric outline, exhibiting sharp angles and contrasting colors of the two sisters. The bodies are in opposition, and there is not sense of unity. The painting illustrates the challenges of life throughout the period.

Exhibit No. 11940 – 1950

When Canada entered the Second World War in 1939, Prime Minister Mackenzie King was “intent on playing a much smaller role than he did in World War I” (Miller 2003). Despite King’s original intentions, as the War was prolonged and Britain became weaker, Canada was forced to increase its contributions. In 1940 Canada, along with Britain and the United States, established a war artists’ program. The Canadian government recruited a total of 19 artists to take part in the program. By the end of the war, approximately 800 paintings were produced, capturing factory workers on the homefront, the war landscapes of Western Europe, and the German death camps. These paintings were used as a means to communicate pivotal events to the public, solidifying Canada’s national identity (Cruxton, Wilson 2000).

Malnutrition, Aba Bayefsky, 1945

BOTTOM: Acrylic on Canvass by Canadian war artist Aba Bayefsky, from early 1945. The painting, titled “Malnutrition”, depicts a starving German-Jewish boy that the artist came across at Bergen-Belsen concentration camp. The mood and colors of the painting are dark; and the abnormally skinny boy reflects the horrific conditions to which those in the camps had to live through. Importantly, the painting is a reminder to Canadians and soldiers alike of the evils of Nazism (Cruxton, Wilson 2000).

The Hitler Line, Charles Comfort, 1944

LEFT: Oil on Canvass by Canadian war artist Charles Comfort. The piece depicts Canadian soldiers in combat on the Hitler line, a German defense front located in central Italy. The painting provides insight on the effectiveness of the Canadian forces throughout the war. As seen in the painting, Canadian soldiers are emerging victorious, successfully securing the region from the Germans. This was a key battle in the war, which solidifies Canada’s national identity (Miller 2003).

Exhibit No. 21950 - 1969

Canada saw a decade of stability and prosperity in the 1950s. Suburban areas expanded their borders and the “baby boom” generation began, as soldiers returned home. In addition, daily luxuries such as the television became more affordable. As the Canadian population became more free of economic burden and the traditional social customs, artwork began to reflect these trends. Ideas of the Group of Sevens’ Canadianism were revived, and combined with abstract expressionism. These styles highlighted freedom and spontaneity, and expressing the inner spirit. A group of French-Canadian artists known as Les Automatistes emerged. This new style used fantastical abstract colour schemes that reflected a world without societal restrictions. Despite Canada’s promising future, many anticipated a nuclear war – abstract art calmed the public’s anxiety (Miller 2003).

Pavane, Jean-Paul Riopelle, 1954

TOP: Oil on canvass by Jean-Paul Riopelle titled, Pavanne. Riopelle was a French-Canadian artist, who was founding member of Les Auotmatistes, a group which painted extreme examples of abstract expressionism in effort to attain more artistic freedom. Pavanne is an extreme example of the dramatic shift in the outlook and perspective of artists of the 1950s (Miller 2003).

Reason over Passion, Joyce Wieland, 1968

BOTTOM: Quilted cotton by Canadian artist Joyce Wieland displaying a variety of vibrant colors, and text which reads, “Reason Over Passion”. The piece captures the political atmosphere in Canada of the time; particularly, the emergence of a new feminist movement. Wieland chose the medium of quilting, a craft within the traditional domain of women, to exhibit the piece. In doing so, Wieland manages to create a work art, through a medium which was rarely seen in the past (National Gallery of Canada n.d).

Exhibit No. 31970 – 1989

Throughout the 1970s, the majority of the Canadian population was under 30 years of age. The quality of Canadian life reached new levels. Canada had developed a standing as a secure and peaceful country. Its economy was stable, thus enabling the government to invest in more cultural and social projects. Many provincial and municipal governments began allocating funds towards public art exhibitions. These funds enabled Canadian artists to explore otherwise experimental techniques such as conceptual art, installation art, film, and performance art. In turn, Canadians accepted these new art forms as a reflection of their society (Miller 2003).

Flight Stop, Michael Snow, 1978

TOP: An image of public installation in the Eaton Centre’s atrium, in Toronto. Titled Flight Stop, the piece was funded by Toronto’s Municipal government. Since installment, the piece has become an iconic symbol to Canadian artists and critics.

Significantly, Aboriginal and First Nations Canadian artists in the 1970s became accepted on a national and international scale. Their style and unique forms such as woodcarving, paint, print, and textiles, represented the often silenced Aboriginal voice. Norval Morrisseau is known as the Aboriginal Canadian artist to defy social boundaries and receive recognition for his work by mainstream society in Canada and the United States. He was born in 1932, and had a unique style within his pieces, capturing legends and history of the Ojibwa culture. Throughout Morriseau’s life, he produced nearly 10,000 works, and influenced the next generation of aboriginal artists through his unique style (National Gallery of Canada n.d).

The Water Spirit – Mishapishoo, Norval Morriseau, 1972

BOTTOM: Oil on wood by Canadian Aboriginal artist Norval Morriseau. Titled The Water Spirit, the painting illustrates a myth from the oral tradition of the Ojibwa people known as Mishapishoo (Cruxton, Wilson, 2000).

Today and Tomorrow2000 -

Throughout the 21st century, social issues such as race, gender, and identity became a primary focus for artists. They commented on cultural trends through a variety of mediums including photography, sculpture, and film. The use and prominence of information technology was at its highest point in Canada’s history, and continued to incline. High-speed internet changed the way that people conducted their daily lives within activities such as shopping and working. Canada’s economy was gaining strength from the recession of the 1990s and in broad respects, Canadians were in stable financial positions. Visual arts in Canada reflected these developments (Miller 2003).

The Pioneers, Douglas Coupland, 2011

RIGHT: The Pioneers, by Canadian artist Douglas Coupland, depicts a Q.R. (quick response) code in a pop-art style. The painting examines the sensations shaped by information technology that is commonly seen within Western society (Canadian Art 2012).

Scene In The Northwest – Portrait, Paul Kane, 1845

TOP: Scene In The Northwest, a historic painting by artist Paul Kane, set a record price for a Canadian painting in 2002. After bidding, the painting was sold for $5,062,000 (CAN). Significantly, the unemployment rate in Canada throughout the early 21st century was low, and the economy was regaining its strength. Canadians were in stable financial positions, and therefore were able to invest in the arts (Stoffman 2002).

Bibliography1. Miller, H. (2003). The Visual Arts: Primary Documents of the 20th Century.

Oakville, Ont.: Rubicon.2. Cruxton, J., & Wilson, W. (2000). Spotlight Canada (4th ed.). Toronto: Oxford

University Press.3. Works by Julia Dault, Tim Gardner Go Under The Gavel This Week – Canadian

Art. (2012, September 18). Retrieved June 5, 2015, from http://canadianart.ca/news/live-auction/

4. Stoffman, J. (2002, February 26). A rare painting by Paul Kane sets a new record for Canadian Art. Retrieved June 5, 2015, from http://www.lochgallery.com/story/5062500-a-rare-painting-by-paul-kane-sets-a-new- record-for-canadian-art

5. National Gallery of Canada. (n.d.). Retrieved June 5, 2015, from http://www.gallery.ca/en/see/collections/artist.php?iartistid=3864

6. Varley, C. (2013, June 11). The Group of Seven. Retrieved June 5, 2015, from http://www.thecanadianencyclopedia.ca/en/article/group-of-seven/

7. Joyce Wieland: Biography. (n.d.). Retrieved June 5, 2015, from http://www.gallery.ca/en/see/collections/artist.php?iartistid=5908