FAH248H1 Lecture Notes - Lecture 4: Florence Carlyle, William-Adolphe Bouguereau, Maurice Denis

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FAH248H1 Canadian Painting
Lecture 4: Tuesday January 30h
Amendment: The painting of the African portrait should be renamed portrait of a
slave
Half the midterm will be slide identification (no more than 10 slides). Only need to
know title, author, date.
- Dennis Reid, A concise History of Canadian Painting, 3rd ed
- John O’Brian and Peter White, eds., Beyond Wilderness
Short essay is the other portion, and will address overarching themes addressed in
the course.
Picking up with The Sublime
- Otto Jacobi, Falls of St. Annem Quebec, 1865
We see a move of the art industry to Montreal as it solidifies itself as the industrial
capital of Canada. The above is an example of the sublime, and relates to a sense of
awe and horror and beauty within the natural world. If we contrast it with:
- Thomas Davies, A view of the Lower Part of the Falls of St. Anne near Quebec, 1790
We can see the former is more rugged than the latter, which would be considered
picturesque.
As the centre of cultural activity moved to Montreal from Quebec, institutions
moved there as well. The Art Association of Montreal sprung up in 1860, which
predated the Montreal Exhibition of Fine Arts. It was a place where collectors could
view and buy Canadian painting. The Society of Canadian Artists was founded in
1867-72.
- Unknown, The Art association Conversazione on the Evening of Feburary 15 (the
Vice-Regal Visit to Montreal), 1978
- Allan Edson, Mount Orford, 1871
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The above is a landscape, an example of detail and atmosphere, a sense of being
secluded in nature. Edson studied with an African-American painter from Ohio
Cincinnatti:
- Robert Seldon Duncanson, Land of the Lotus Eaters, 1861
The above was a member of the school of luminism, and helped found the Ohio
River Valley School, an answer to Hudson River School.
- Henry Sandham, Tobogganing, 1885
- , Sleighing and Tobogganing, n.d
Sandham worked in William Notman’s studio, a commercial photographic and artist
studio. Notman employed a team of artists to work at his studio, Sandham was a
specialist in composite photography.
Someone else who worked for Notman was John A. Fraser. Fraser’s father was a
member of a left wing movement championing the working class in land ownership
in England.
- John A. Fraser, A shot in the Dawn, Lake Scugog, 1873
Fraser eventually partnered with Notman in a studio on (King Street?) Fraser would
move to Toronto and found the Ontario Society of Artists, possibly suggesting
another shift in cultural activity from Montreal to Ontario. Fraser would come into
conflict with another painter:
- Lucius O’Brian, Sunrise on the Saguenay, Cape Trinity, 
O’Brian was probably an upper middle class, Fraser was more of a socialist. O’Brian
went on the be the First President of the Royal Canadian Academy in 1880. The
above was a diploma piece submitted by O’Brian that would be entered into a
growing collection of paintings that at the time had no home. Today, it’s on display
at the National Gallery of Canada.
Concerning the growth of arts institutions in Toronto, there was no dedicated art
gallery in Toronto at the end of the 19th century, so what was there?
The Mechanics Institute from 1854 was an organization dedicated to fostering
culture in the middle class, and would become the basis for the Toronto Public
Library? Another Institution was the Canadian Educational Museum in 1857, on the
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