Journal of Canadian Art History / Annales d'histoire de l'art canadien

Archive of past issues

Vol. XII:2 (1989)

Articles

La descendance Québécoise de la Sainte Cécile de Raphaël

Le rôle de la copie dans la diffusion d'un thème iconographique européen

Denis Grenier

Une méprise est à l'origine du patronage musical de sainte Cécile. Tardif, cet usage n'apparaît en Italie qu'à la fin du XVe siècle. De mélophobe qu'elle était, la vierge et martyre devient mélomane. Musiciens, chanteurs, organistes, facteurs d'orgues et luthiers s'en réclament. Aucun instrument de musique ne lui est étranger. De nombreuses sociétés musicales se drapent de son nom.

L'invention transalpine fera recette. L'idée sera portée par l'iconographie. De multiples compositions verront le jour. Le Québec n'échappera pas à la mode. Grâce à la copie, les créations imagières européennes y circuleront. La sainte romaine s'implantera solidement. Son image se multipliera jusqu'au XXe siècle à partir de prototypes venus d'outre-mer.

translated summary:

The Quebec Lineage Of Raphael's Saint Cecilia

The Role of the Copy in the Dissemination of a European Iconographic Theme

It was due to a misunderstanding that Saint Cecilia, the third-century Roman virgin and martyr, was made the patron saint of music in fifteenth-century Italy. But European iconography would welcome this Transalpine invention. A music-hater transformed into a music-lover, the saint appeared in numerous compositions, versions of which ended up in Quebec. In the nineteenth century, many copies were made of the paintings depicting Saint Cecilia. Raphael's reredos in the Bologna art gallery has a rich lineage. The present study centres on its history in Quebec. What do the Bolognese reredos become in reproduction? What adaptations were made? What is the social, political, economic, religious, musical and artistic context of these imitations? The works studied are for the most part from Quebec City and immediate vicinity.

Deux portraits de la critique d'art des années vingt

Albert Laberge et Jean Chauvin

Esther Trépanier

Bien qu'amorcée depuis quelques années, l'étude de la critique d'art au Canada reste encore un champ relativement inconnu et qui révèle souvent au chercheur qui s'y attaque l'existence de positions esthétiques plus riches et plus variées qu'il ne le soupçonnait.

M'intéressant à la constitution d'un discours sur la modernité artistique dans l'Entre-deux-guerres au Québec, j'avais entrepris une analyse des positions exprimées en 1918 par la revue d'avant-garde Le Nigog. De même j'avais tenté de cerner celles qu'ont développées les figures majeures de la critique d'art des années trente. Les années vingt restaient cependant dans l'ombre. Le présent article ne prétend pas en présenter une analyse définitive mais, plus modestement, contribuer à celle-ci en présentant les positions défendues par deux des critiques francophones les plus «réguliers» de cette décennie Albert Laberge (1871–1960) et Jean Chauvin (1895–1958)

translated summary:

Two Portraits of Criticism in the 1920's

Albert Laberge and Jean Chauvin

This article focuses on Albert Laberge and Jean Chauvin, critics active in the 1920's. It is extrapolated from the larger context of a study of the theoretical foundations of modernity in Montreal art criticism between the wars. In between the shortlived but virulent avant-gardist positions advanced in 1918 by Le Nigog and the critical treatises on modernity which appeared regularly in journals and newspapers and which announced the advent of the Contemporary Art Society in 1939, the twenties seemed to have been dominated in both French and English criticism by the expression of artistic nationalism and regionalism.

Charles Comfort's Lake Superior Village and the The Great Lakes Exhibition 1938–39

Christine Boyanoski

The Great Lakes Exhibition featuring paintings by artists of the Great Lakes Region was first conceived in 1936 as a collaborative venture by the Buffalo Society of Artists, the Patteran Society (an artists' organization in Buffalo) and the Albright Art Gallery. It contained one hundred and sixty-five paintings by artists from Buffalo, Chicago, Cleveland, Detroit, Milwaukee, Rochester, Toledo and Toronto. After opening in Buffalo in November 1938, the show circulated among all the participating cities except Chicago, ending up at the Milwaukee Art Institute in May, 1939. Toronto was the sole participant from north of the 49th parallel, and received the show at the Art Gallery of Toronto where it opened on January 6, 1939.

Reviews

In Seclusion with Nature: The Later Work of L. LeMoine FitzGerald, 1942 to 1956

Michael Parke-Taylor

Brian Foss

Lionel LeMoine FitzGerald has been the subject of five previous exhibition catalogues with critical essays devoted entirely or largely to his work,1 and all but one were produced in the artist's home city of Winnipeg. He and his work have also been covered in two Master of Arts theses: Karen Sens' A Discussion of the Stylistic Development in the Dated Oil Paintings of Lionel LeMoine FitzGerald (1890–1956) (University of British Columbia, 1970), and Elizabeth Wylie's The Development of Spirituality in the Work of Lionel LeMoine FitzGerald 1890–1956 (Concordia University, 1981).

Contemporary Inuit Drawings

Marion E. Jackson, Judith M. Nasby

Bernadette Driscoll

Despite their importance as the source of Inuit printmaking, drawings have been a long-neglected medium in the exhibition and collection of Inuit art. Sensitive to this "under-representation" in public institutions, the Macdonald Stewart Art Centre has acquired over 300 contemporary Inuit drawings. Their recent touring exhibition based largely on this collection included eighty-five drawings by forty-three artists from communities across the Canadian Arctic. The accompanying catalogue documents this wide-ranging survey of graphic images created by artists whose reputations (until recently) have rested on stonecut, stencil, and lithograph prints of their drawings.