Landscapes in motion: Lawren Harris, Emily Carr and the heterogenous modern nation

Oxford Art Journal

Volumn 19, Issue 1, 1996, Pages 80-95

  Linsley, Robert ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 1842743791     PISSN: 01426540     EISSN: None     Source Type: Journal    
DOI: 10.1093/oxartj/19.1.80     Document Type: Review

References (40)

1. Meyer Shapiro, 'The Armory Show' in Modern Art: 19th. and 20th. Centuries (New York, 1978), p. 173
2. See Roald Nasgaard, The Mystic North (Toronto, 1984)
3. See The Globe and Empire (Toronto), 5 April 1913, p. 10
4. Robert Stacey, 'A Contact in Context: The Influence of Scandinavian landscape painting on Canadian Artists before and after 1913', Northward Journal (Moonbeam Ont.), 18/19 November 1980, p. 36
5. See J. E. H. Macdonald's Art Gallery of Ontario lecture of 17 April 1931, published in Northward Journal, November 1980
6. Also Bertram Brooker's characterization of Harris - 'He hates Europe and is impatient with slavish admiration of anything that comes from there,' cited in Ann Davis, The Logic of Ecstasy (Toronto, 1992), pp. 60-1
7. Speaking of the paintings 'Elevator Court' and 'Black Court', F. B. Housser said: 'These Halifax pictures were painted at a period in Harris's life when so distinct a change is marked in his works that everything since done may be easily divided from that which went before.' Frederick B. Housser, A Canadian Art Movement: The Story of the Group of Seven (Toronto, 1926), p. 185
8. Also Jeremy Adamson, Lawren S. Harris: Urban scenes and Wilderness subjects 1906-1930 (Toronto, 1978), p. 118
9. Barker Fairley in Canadian Forum (Toronto), Vol. I, June 1921, p. 278
10. Piet Mondrian, 'Plastic Art and Pure Plastic Art' (1937), in Herschel B. Chipp (ed.), Theories of Modern Art (Los Angeles, 1968), pp. 349-62, especially pp. 352 and 362
11. Frederick B. Housser, 'Art - the Initiator' in The Canadian Theosophist, Vol. 8, 15 April 1927, p. 23
12. Frederick B. Housser, 'Thoughts on a trip west', The Canadian Theosophist, Vol. 9, 15 October 1928, p. 225
13. Irving Abella and Harold Troper, None is too many: Canada and the Jews of Europe 1933-48 (Toronto, 1983), p. x
14. Arthur Lismer, 'Canadian Art', The Canadian Theosophist, Vol. 5, 15 February 1925, p. 179
15. 'Ottawa Lobby Working To Aid Foreign Influx: Not-fit-for-land immigrants swell unemployment in cities', Globe and Mail, 19 January 1922
16. Frederick B. Housser, A Canadian Art Movement: The Story of the Group of Seven (Toronto, 1926), pp. 184-5
17. Frederick B. Housser, 'The Karma of the Jews', The Canadian Theosophist, Vol. XIV, 15 September 1933, p. 221
18. Frederick B. Housser, 'The Protocols of Zion', The Canadian Theosophist, Vol. XIV, 15 November 1934, p. 349
19. See George Winter Mitchell, 'Canada - Saviour of the Nordic Race' in The Canadian Magazine, Vol. 61, May-October 1928
20. 'Wanted: An Immigration Policy', Canadian Forum, Vol. 2, No. 18, March 1922, p. 551
21. Klaus Theweleit, Male Fantasies (Minnesota, 1987), Vol. I, p. 402
22. John O'Brian, David Milne and the Modern tradition of painting (Toronto, 1983), p. 15
23. Lawren S. Harris, 'Revelation of Art in Canada', The Canadian Theosophist, Vol. VII, 15 July 1926, p. 87
24. Another, and very important, reading of the body consciousness of the Group can be found in Scott Watson, 'Disfigured Nature: The Origins of the Modern Canadian landscape', in The Eye of Nature (Banff, 1991), pp. 103-12
25. Lawren S. Harris, 'Art and Audience', Canadian Bookman, Vol. VII, 12 December 1925, p. 197
26. For an example see Barry Lord, The History of Painting in Canada: Toward a People's Art(Toronto, 1974), pp. 136-7
27. The roots of this reading may be found further back and are traceable to the members of the Group themselves. See Lawren Harris, 'The Group of Seven in Canadian History', in Canadian Historical Association: Report of the Annual Meeting held at Victoria and Vancouver June 16-19, 1948 (Toronto, 1948), p. 28
28. A valuable critical look at the tradition of the single tree in Canadian art is found in Matthew Teitlebaum, 'Sighting the Single Tree, Sighting the New Found Land', in The Eye of Nature (Banff, 1991), pp. 71-88
29. For a discussion of the relation between the paintings of the Group and the industrial development of the region north of Lake Superior, see Robert Stacey, 'The Myth - and Truth - of the True North', in Michael Tooby (ed.), The True North: Canadian Landscapes Painting 1896-1939 (London, 1991), pp. 36-63
30. Emily Carr, Hundred and Thousands: The Journals of an Artist (Toronto, 1966), p. 18
31. For the classic statement of this view, see Doris Shadbolt, The Art of Emily Carr (Vancouver, 1979), p. 140
32. See Robert Linsley, 'Painting and the Social History of British Columbia' in Stan Douglas (ed.), Vancouver Anthology: The Institutional Politics of Art (Vancouver, 1991), pp. 224-5
33. and 'Landscape and Literature in the Art of British Columbia', in Paul Delaney (ed.), Vancouver: Representing the Post-Modern City (Vancouver, 1994), pp. 193-216
34. Other important reflections on this topic can be found in Jeff Wall, 'Into the Forest: Two Sketches for Studies of Rodney Graham's Work', in exh. cat. Rodney Graham (Vancouver, 1988), pp. 9-31
35. and 'Traditions and Counter-Traditions: A Deeper Background for Ken Lum's Work' in Witte de With: The Lectures 1990 (Rotterdam, 1991), pp. 67-81. Scott Watson, in the paper already cited, proposes another, related critical reading of Carr
36. The first writer to discuss this point with any insight was Doris Shadbolt. See Doris Shadbolt, Emily Can (Vancouver, 1990), pp. 167-214
37. This paper does not explore this topic, but there is an extensive literature. Two classic texts are: Doris Shadbolt, Emily Carr (Vancouver, 1990), pp. 82-145
38. and Marcia Crosby, 'The Construction of the Imaginary Indian', in Stan Douglas (ed.), Vancouver Anthology: The Institutional Politics of Art (Vancouver, 1991)
39. Peter Varley, Frederick B. Varley (Toronto, 1983), p. 62
40. Vernon Blake, The Art and Craft of Drawing (London, 1927), pp. 25, 351