The art of the First Nations
Aboriginal peoples have occupied Canada's vast territory for tens of thousands of years, up to 26,500 years in the Yukon. Each of these Aboriginal peoples has developed its own cultural characteristics.
Today's Canadians have inherited from the first occupants their art of living in symbiosis with nature. Today, recognition of the Natives is achieved by highlighting their artistic traditions. In Vancouver, totem poles are a reminder of the complexity of a heritage inseparable from its mythology. Take a stroll through Stanley Park to admire these wooden sculptures, proudly erected in the middle of nature. The MOA - Vancouver Anthropological Museum - invites visitors to explore Canada's cultural identity through its unique collection. Totem poles and works of art, including Inuit stone and bone sculptures and engravings, tell the story of First Nations life. Showcases of artefacts and everyday objects crown this vast overview of the world of First Nations.
Pictorial heritage
In Canada, creation was based from the very beginning on the artistic forms in force in France and England. Painting was first of all religious. Abbot Hugues Pommier left France for Quebec in 1662. His easel paintings inspired by faith were a long time school.
At the beginning of the 19th century, the portrait was very successful. In the middle of the century, Toronto artists such as Georges Théodore Berthon established themselves as portrait painters. Their careers were helped by the economic boom.
The Irish-born painter Paul Kane (1810-1871), who died in Toronto, accomplished a veritable documentary work by painting the lives of native peoples. The Glenbow Museum in Calgary offers both a historical and artistic tour. Illustrations by travelling artists, railroad scenes sponsored by the Canadian Pacific Railway, and Arctic explorers follow one another in its rooms. Although engravings and drawings are more numerous, all means of expression participate in this presentation that tells the story of Canada from the 19th century to today.
Artistic turnaround
In 1842, photography made its appearance. This breakthrough marked the end of the great era of painted portraits. Painters were forced to renew themselves in order to compete. In Ontario, Robert Whale turned to decorative painting and became the most popular landscape painter. At the end of the 19th century, the influence of Impressionism and then Expressionism was felt in the creative milieu.
The Romantic fever that affected Canada was sealed by the founding of the Royal Canadian Academy of Arts. The first great names of the Academy were Robert Harris, Homer Watson, Otto Jacobi and John A. Fraser who collaborated with the photographer Notman. The rigour of academicism encouraged the emergence of a new Canadian painting that was eager for change.
Group of Seven
In Montreal, the beginning of the 20th century saw the blossoming of a harmonious art, that of landscapes with a naive charm. Montreal was going through a phase of unprecedented growth. After the war, it became the city of all pleasures. This lasted until the crash of 1929. Unemployment hit the population hard.
It was in this context that the Group of Seven was formed in Toronto, Montreal's rival. Seven landscape painters radically redefined the visual identity of the country by painting the vast wilderness of Canada. The founding members were Franklin Carmichael, Lawren Harris, A.Y. Jackson, Franz Johnston, Arthur Lismer, J.E.H. MacDonald and F.H. Varley. These revolutionaries of the brush claimed to be post-Impressionist and Scandinavian in tradition. They painted romantic panoramas of the Canadian Shield that helped define a "national vision". Tom Thomson's influence on the formation of the Group was never denied by its members. Before his early death in 1917, this park ranger certainly converted them to the pleasures of the outdoors. It was under his guidance that the future Seven began to depict the wilderness of Ontario. Together they sketched and painted in the wilderness, inspiring and criticizing each other. Tom Thompson did not live to see the birth of the Group, but its members have never ceased to acknowledge the major role he played in their development.
Their influence will last for generations. Today, most Canadian public museums hold paintings by the Group of Seven. These include the National Gallery of Canada in Ottawa, theArt Gallery of Ontario in Toronto and the McMichael Canadian Art Collection.
Of particular note is Emily Carr (1871-1945) whose work is strongly influenced by the Group of Seven. Recognized as a leading figure in Canadian art, her paintings are based on the forests and totemic art of the Pacific region. At the Vancouver Art Gallery, her many paintings in the collection offer an excellent approach to her vision of nature and the indigenous people of British Columbia.
The Sculptors' Society of Canada
The Sculptors Society of Canada was founded by prominent Canadian sculptors and has been advocating for Canadian sculpture since 1928. Founded by Emanuel Hahn, Frances Loring and Henri Hébert, the Society is dedicated to the development of the art form while promoting Canadian sculpture both locally and internationally. The SSC's commitment is supported by galleries, festivals and museums including the National Gallery of Canada. Travelling exhibitions have taken their work to Europe, across the United States and to the first Beijing International Biennale in 2003. The organization hosts exhibitions and debates in its offices at 500 Church Street and supports young talent, especially the most innovative.
Modern influences
As a result of the Group of Seven, Canadian artists are making their mark internationally.
Locally, the transition to the 20th century is characterized by individual expression and stylistic freedom. In the first half of the 20th century, Alberta artists were influenced by their peers who came to teach in the region. Professional artists' associations and specialized schools were formed. This was a fertile ground for the development of a generation of local artists. Landscape remained the major theme, but the currents that revolutionized art in Europe gradually permeated the Canadian style.
Alfred Pellan (1906-1988) openly detached himself from the influence of the Seven. In the 1930s, he lived in Paris, where he was marked by his encounter with Picasso, Miro and the Surrealists. His return to Canada in 1940 marked the awakening of creative painting in Quebec. The latter dared to depart from tradition to rally to the School of Paris. Expressionism, surrealism and cubism were added to the previous inspirations.
Around 1950, the main influences came from the United States, starting with abstract expressionism. In Canada, abstraction evokes nature more than anywhere else. Technique broadened the field of possibilities: photographic and technological experiments enriched visual explorations. In this effervescence, Fusion des Arts was founded in Montreal in 1964 and Intermedia in 1967 in Vancouver. Two informal groups that broke down boundaries by combining all available media (film, music, dance, poetry). The Fusion artists, grouped around Richard Lacroix, François Soucy, François Rousseau and Yves Robillard, produced happenings and public performances.
Riopelle
In 1948, an artistic manifesto signed by Paul-Émile Borduas was published under the cover of Montreal by the Automatistes. In these pages, the author of Refus Global questions the values of Quebec society, rejects all constraints, and advocates individual freedom. Among the signatories were psychiatrists, actors, designers, as well as the painter and sculptor Marcel Barbeau, the photographer Maurice Perron and Jean-Paul Riopelle.
Born in Montreal, Riopelle (1923-2002) moved to Paris in 1947 where he befriended the Surrealists before returning to his native land. In 1958, he began his career as a sculptor. Back in Paris, he exhibited his sculptures and trained in pastel, engraving, collage and ceramics. Nature and figurative elements play an increasing role in his creative process. As his success continued, he took on commissions on both sides of the Atlantic. Between abstraction and figuration, Riopelle likes to renew himself, exploring both stencil painting and aerosol cans. The Montreal Museum of Fine Arts, which devoted a major exhibition to him in 2006, has several of his works: La Roue, Hommage à Grey Owl, Soleil de Minuit and Hibou. His fountain "La Joute" is located in a square named after him, in front of the Palais des Congrès.
Towards a contemporary Aboriginal art
The National Gallery of Canada in Ottawa brings together Aboriginal and Canadian art in a remarkable scenography. Nearly a thousand works cover a vast period of over 7,000 years. We can see that Native art is being brought up to date.
The Bill Reid Museum in Vancouver is one of the few cultural venues dedicated to contemporary Aboriginal art on Canada's Northwest Coast. In addition to the permanent collection, temporary exhibitions are reserved for young indigenous artists. The museum is named after Canadian painter, sculptor, silversmith and writer Bill Reid (1920-1998) of Haida origin. The Haida are an Aboriginal community in British Columbia. According to the famous anthropologist and ethnologist Claude Lévi-Strauss, Bill Reid literally saved the Haida culture. Bill Reid began his career at the age of 30 with the goal of reviving the Haida artistic tradition. It was through his intervention that the totem poles of the Queen Charlotte Islands (Haida Gwaii) were saved. They found their place in front of the Museum of Anthropology in Vancouver. This same museum now houses his imposing 1973 sculpture, The Raven and the First Men, which represents the origin of the Haida community. For the record, in Haida mythology, the raven gave birth to humanity by freeing the humans trapped in a huge clam shell. Travelers stopping at the Vancouver International Airport will have the opportunity to view his majestic Spirit of Haida Gwaii sculpture.
Street art
Vancouver. The first large-scale public works to appear in Vancouver were probably the painted silos of Ocean Concrete on Granville Island. Also worth seeing: the magnificent Canada Secret Mountains mural (at 325 West4th avenue), painted by international artist Okuda San Miguel; the Lady Mermaids by Chazillah / Nik Martin; the blue palisade by Khelsilem who inscribed in Musqueam (a British Columbia people) language: Is this our land?
Street art has only been allowed in Vancouver for a short time. Among the pioneers, the mysterious local artist iHeart was scattering stenciled creations before their time that were regularly erased. But that all changed in 2016 thanks to the Vancouver Mural Festival. The nonprofit's mission is to ease social tensions by showcasing artistic communities. Its action is part of the policy of reconciliation with the First Nations. Urban art has now officially taken its place thanks to the dedication of the festival organizers who work in collaboration with the City. Artists from across Canada and around the world work on the subject of their choice. The only requirement is that they obtain permission from the owner of the medium, whether it's a wall, the ground, a garbage can or any other usable surface.
In Toronto, the StART program involves communities in street beautification. In doing so, StART hopes to encourage soft means of transportation such as walking and biking. Check out Kensington Market, the bohemian neighborhood where it's great to shop. The Orbital Arts alley is entirely covered in graffiti. A ten-minute walk away, Graffiti Alley is the territory par excellence of urban frescoes. South of Chinatown between Spadina Avenue and Portland Street, Rush Lane is a symbol of the StART program, a one-mile long alley that has become a favorite playground for artists. Don't miss the gigantic aquarium by Canadian artist Uber5000, whose vision of the underwater world makes you smile. For the anecdote, the portraits titled Remove me refer to the mayor Rob Ford who went in 2011 to hunt graffiti armed with a water jet.
Building on its success in Montreal since 2013, the Mural International Public Art Festival has moved to Toronto. The event features artists from around the world through exhibitions, installations and concerts at Stackt Market.
In Montreal, urban art is everywhere. Keep your eyes open! It can be found in unexpected places: parking lots, street furniture, dead ends or stairwells. A few hints? On the plateau Mont Royal, between the Laurier and Mont-Royal metro stations, sublime frescoes adorn Saint-Laurent Boulevard. The charming neighborhood of Little Italy also hides its treasures bequeathed by muralists.
Contemporary atmosphere
Since 2000, the Toronto International Contemporary Art Fair has been one of Canada's major annual events. In the heart of the city, the event brings together local and international galleries.
The collection of the Musée d'art contemporain de Montréal is open to all media: video, sculpture, photography, painting, installation, sound and digital work, and drawing. The bold sculptures of Louise Bourgeois share the space with the self-portraits of photographer Raymonde April (born in Canada in 1953), the paintings of Janet Werner (born in Canada in 1959) and the work of Jon Rafman. Born in Montreal in 1981, Rafman combines sculpture, painting, installation and photography to expose the role of technology in today's world.
Part of the collection is lining the streets of Montreal with the intention of making art more accessible. As Art Souterrain's actions attest, public art has a special place in Montreal's heritage. In this respect, the underground city is known as a hotbed of public art.
The Quartier International du vieux Montréal is home to a multitude of art galleries. The Canal districts bring together antique shops, modern art, and established and emerging artists. More specifically, Griffintown has become a hot destination in a short period of time. William Street, Ottawa Street and Notre Dame Street West are home to a swirl of creative studios and galleries. The Montreal Art Centre has studios for 100 artist members, as well as two art galleries: Galerie William on the second floor and Galerie Griffintown on the second level.
