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


Vol I:2 (1975)


Surrealism and Pellan
L'Amour Fou

Alfred Pellan is an eclectic artist His paintings incorporate Cubist, Ecole de Paris, abstract and Surrealist elements To date, the extent of Pellan's debt to each of these movements has not been investigated sufficiently This article analyses one of Pellan's paintings in an attempt to elucidate certain aspects of his relationship with Surrealism

The most overt Surrealist statement made by Pellan is found in l'Amour fou This work, painted during Pellan's second Paris period (1952–54), dates from 1954 In Paris, Pellan once again had direct contact with the works of the Surrealists and this contact must be seen as the catalyst which enabled him to paint a work which not only is a personal declaration of his admiration for the movement but is a contribution to it as well When it was exhibited in 1955 it bore the title l'Amour fou (Hommage à André Breton) The full title is an indication of Pellan's attitude to Surrealism at this time Examination of the painting reveals the extent of Pellan's understanding of Surrealism, both philosophically and visually, and his ability to absorb his source of inspiration while creating a highly individual statement

Les Statues de la Façade de l'Église Sainte-Famille, Ile d'Orléans

Les Projets d'Embellissements de la Ville de Québec Proposés par Lord Dufferin en 1875

Who "Discovered" Emily Carr?

Nineteen twenty-seven was Emily Carr's annis mirabilis, the year she was discovered for Canadian art through the National Gallery's Exhibition of Canadian West Coast Indian Art and simultaneously introduced to the stimulating influence of the Group of Seven Prior to 1927, the accepted version runs, she was condemned to earn a living by running a four-suite apartment known as "The House of All Sorts " Landlady chores gave her little time to paint and so from about 1913 her brushes lay idle Marius Barbeau of the National Museum is usually credited as the man who "forged the first link of the chain which … brought both Miss Carr and her pictures to Ottawa " Hearing of Carr "from William Beynon, [his] half-breed Tsimsyan interpreter at Port Simpson, in the winter of 1915," Barbeau was prompted to visit her Simcoe Street studio the following spring Impressed by her work, he bought two pictures and was given a third When twelve years later the Exhibition of Canadian West Coast Indian Art was planned cooperatively between the National Gallery and the National Museum in 1927, Barbeau again visited Carr "to examine the stock of canvases she kept in her upper story " Laying aside "about eighty of them, from which to make a final selection," he then "discussed the exhibition in detail with Mr Brown," Director of the National Gallery, who went to Victoria "at that time … and made final arrangements with Miss Carr for the shipment of her pictures " Brown found that Carr had been painting "fine stuff among the Indians for 20 years" and invited her "to send a collection to our Indian West coast show " Carr was flattered by Brown's invitation and interested to learn that there was a group of eastern artists who painted the Canadian wilderness in a modern way Travelling East for the opening of the exhibition she met the Group of Seven and established a long relationship with one of its members—La wren Harris Revived in spirit through contact with the Group she returned West, picked up her long-idle brushes, and began the most intense and prolific period of her career

This long perpetuated story of Emily Carr's "discovery" may be questioned She had not stopped painting in 1913 Brown had known of her work since 1921 And there is little evidence to suggest that Barbeau either visited or purchased works from Carr before 1926

Les Peintures en Damiers de Molinari


Notre-Dame de Québec & Montréal en évolution
Luc Noppen & Jean-Claude Marsan

Writing on architecture in Canada is just beginning to move out of the primary stage of general chronicles of form and type into the second period of more detailed and individual study Major monographs such as those by Harold Kalman and Franklin Toker have broken new ground in more specific studies The two books reviewed here: Notre-Dame de Québec by Luc Noppen and Montréal en Evolution by Jean-Claude Marsan are especially welcome for, in a very real sense, their insights open tantalizing opportunities for further scholarship in Canadian architecture

Noppen and Marsan each approach their subjects with a full awareness of the complex architectural and historical character that must be analyzed and ordered if Notre-Dame de Québec is to be understood as more than an urban cathedral and if Montréal is to be understood as more than simply a complex and very enjoyable city

Exploring Vancouver
Harold Kalman, John Roaf

Urban geographers, ethnologists, social historians, industrial archaeologists, and even gastronomes — as well as architectural historians — will find something of interest in the Kalman and Roaf book, Exploring Vancouver A compendium of facts and figures generously illustrated, the book is a tribute to the catholic interests of Dr Harold Kalman and the photographic skills of John Roaf Those who have struggled with Pevsner's London only to have the binding disintegrate in a swirl of Chelsea fog or who failed to locate a crucial cross-reference in the Michelin Guide to Paris, will appreciate the physical package The 264 page 4½″ x 10″ format does fit in the pocket The graphics and overall design facilitate quick reference and easy reading The arrangement of points-of-interest into six walking tours and four driving tours follows not only logical geographical divisions but also the chronological sequence of Vancouver's development Each tour is prefaced by a brief historical profile which establishes the general economic and cultural setting The subjects of each discussion are illustrated on the following pages Included in the package are a glossary of terms and two invaluable indices: one of architects, and the other a general reference, mainly of places The overall quality of the book, in particular the saddle stitched binding (now alas becoming rare in a paperback) justifies the price of $5 95