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Anthropology (869)
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Lecture

JANUARY 23 - VAH2272

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Department
Anthropology
Course Code
Anthropology 2216F/G
Professor
All

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JANUARY 23, 2014 20 Century Canadian Art Landscape and Nationalism 1910-1940s LAST WEEK: -Ozias Leduc, Boy with Bread 1892-99 -Maurice Cullen, Last Loads 1916 • Landscapes and urban/rural the majority • Not a group of concentrated artists, incorporating artists from abroad too • Atmospheric conditions important • Brymner and Morrice Canadian Art Club experimenting with post-imp and Tonalism with interest in atmosphere as a thread that goes through almost all Canadian painters of this time • Diversity of landscapes • Canadian Art Club not consciously developing a Canadian art style Hill Reading -Myths used to create a spirit of Nationalism -More complicated of a story than appears Background of the Group of Seven -Arthur Goss, Luncheon at the Arts and Letters Club 1920, 5 of 7 Group members -Met earlier than 1920, many met at the Arts and Letters club, membership only male club where they talk of literature, visual arts, and theatre -Some had already been exhibiting their works -Fluidity of relationships within the Group -Thomson died before the group formally came together in 1920 -Patrons Lawren Harris, wealthy family, university education, had access to wealthier people in Toronto, which helped collecting of their work and financial support -Dr. McCollum also a supporter; constructed Studio Building, 1914: developed an art community -Tom Thomson, Northern River, 1914-15: inspired by Impressionist approach to being IN nature -JEH MacDonald, By the River, Early Spring 1911: oil sketch, logging scene, rougher application, -Lawren Harris, Gas Works, 1911-12: muted, soft blended brushstrokes, how atmosphere and effects of light important -1913 a Toronto critic “hot much school”, painting looking like globs of porridge -American Scandinavian Society, cover of catalogue by Charles Brinton (1913) -Lawren Harris, Winter Morning 1914 & Snow 2 1915 • Art of the soul of the woods • Foundations planted on good red earth • Began with nature before art -Interest in Canadian landscape that made Canadian art specific in representing the Nation, a goal of theirs -1914 common energy/goals, desire to paint in the landscape from nature to develop Canadian art, but War ensued, couple enlisted, couple were war painters -1914-18 disrupted energy -James Wilson Morrice, Waiting for the Boat, Tangiers, 1911-13 & Tom Thomson, Decorative Landscape, Birches 1915 • Location important, Canadian soil • Focus on detail important for Thomson • Both inspired by similar art styles but their interpretation differs • Interest in flattening of picture plane • Increase of decorative nature in Thomson -Thomson, The West Wind, 1916 • Last study before death • Single tree has become an iconic image, symbol of Canadian character • Stand for a search for authentic experience: anti-modern in certain aspects, wanting to be in natural landscape away from cities (spiritual) • Art also relates to tourism literature, attempting to sell Canada to tourists by emphasizing wildlife experiences -Charles Hill, film clip • Curator is Canadian art (Tom Thomson) • Reduction and recession of space -1944 The West Wind: The Story of Tom Thomson film clip • National Film Board production for National Gallery • Mythology, mystical figure, epic, dramatic • Emphasis on his love of nature, outdoorsman -1919 Exhibition • JEH MacDonald, The Wild River 1919 & Leaves in the Brook, 1918 • Critics described left as having a distorted colour scheme and disproportion, un- restful texture • Right image met with praise • Context when shown will hinder certain responses and critics -1920 year they officially formed, First Group Expo Art Gallery of Ontario • 1970 reconstruction of 1920 exhibition • Differ from Can Art club (withdrawn from older art societies) the Group wanted to bring people together • Curator: hanging work in line with one another, contrasting size of works, showing oil sketches and pre-final work “process”, painted golden walls gallery contextualizes, framed works substantial frames, conventional hanging, “serious art”, chronology of work focusing on important moments, narrative thread of development and significance of the group, sets them up as developers and now release into the world • JEH MacDonald, Sunflowers, Thornhill, 1916 & Tangled Garden, 1916: in 1920 show described as “gorgeously decorative”, almost quiet compared to the Wild River (1919), fantastical, move away from realism of the study, reinterpreting your own first impression, moving away from naturalism of Impressionism to more decorative • 5 Harris paintings with urban subjects: Italian Store in the Ward 1922 & In the Ward, Toronto 1917: Arthur Goss photographer of slum areas, Harris focuses more on what’s interesting and aesthetical -1922 Exhibition • Reaffirmed their experimental quality ad challenging of norms, Avant Garde positioning • Work wasn’t totally
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