Indigenous peoples of the Arctic have been making art for thousands of years. In this exhibit, we will look at an ancient artifact fashioned by unknown hands, the work of the first generation of Inuit artists, and two contemporary Inuit artists whose work has become part of the international art world.
For most contemporary art critics, the term “decorative” is pejorative, implying that a work, while perhaps pretty, lacks content and depth. The decorative arts, it is commonly assumed, have two features that are at odds with what we think of as fine art: decorative art is typically associated with function – glasses, plates, bowls, jars, carpets, clothes – and its purpose is to project a style or mood rather than to transmit meaning and incite dialogue.
This Collection explores visual arts in Canada through articles, photo galleries, Heritage Minutes and more, and is presented in partnership with Charles Bronfman’s Claridge Collection. Above image: Untitled. Acrylic on canvas, painted by Max Johnson. Courtesy of the Charles Bronfman's Claridge Collection.
Festival Lennoxville opened in 1972 at BISHOP'S UNIVERSITY in the Eastern Townships of Québec. Drama department chairman David Rittenhouse and director William Davis founded it to present new productions of outstanding Canadian plays staged earlier by other theatres across the country.
Country furniture is probably best understood as material produced after or similar to the mainstream of influences or period styles (eg, Chippendale, Hepplewhite, Sheraton), using local woods and influenced by the limitations of the cabinetmaker's tool chest, imagination and level of workmanship.
Based on an autobiographical screenplay by Clément Perron, Claude Jutra’s Mon oncle Antoine (1971) is widely regarded as one of the greatest Canadian films of all time, ranking No. 1 in polls conducted by the Toronto International Film Festival (TIFF) in 1984, 1993 and 2004, and No. 2 in 2015. It won eight Canadian Film Awards, including Best Feature Film, Direction and Original Screenplay, and demonstrated the possibilities of Canadian cinema at a time when few Canadian feature films had achieved widespread critical or commercial success. In 2016, it was named one of 150 essential works in Canadian cinema history in a poll conducted by TIFF.
Ted Kotcheff’s adaptation of Mordecai Richler’s novel about a nervy Jewish kid determined to succeed at any cost is considered one of the best Canadian films ever made. The most commercially successful Canadian film of its time, it won the Golden Bear at the Berlin International Film Festival and the Canadian Film Award for Film of The Year. It was also nominated for an Academy Award for Best Adapted Screenplay and a Golden Globe for Best Foreign Film. In 2016, it was named one of 150 essential works in Canadian cinema history in a poll conducted by the Toronto International Film Festival (TIFF).
Toronto’s Soulpepper Theatre was founded in 1998 by 13 actors with the assistance of a grant from the Stratford Festival. Considered the best year-round repertory company in Canada, it has presented such acclaimed productions as Anton Chekov’s Uncle Vanya (2001, 2002, 2008) and Tony Kushner’s Angels in America (2013). Since relocating to Toronto’s Distillery District in 2006, Soulpepper has presented such Canadian plays as Sharon Pollock’s Doc (2010), John Murrell’s Waiting for the Parade (2010), and Ins Choi’s Kim’s Convenience (2012). In January 2018, the company was rocked by allegations of sexual harassment against founding artistic director Albert Schultz and accompanying lawsuits against Schultz and Soulpepper.
Founded in 1958 by Ludmilla Chiriaeff, Les Grands Ballets Canadiens de Montréal is the most progressive and experimental of Canada’s three big ballet troupes (the National Ballet of Canada and the Royal Winnipeg Ballet being the other two). It is noted for a diverse repertoire that has emphasized new works as well as traditional 19th-century story-ballets and 20th-century classics. The company has also had a strong record of commissioning original works that are often choreographed, composed and designed by Canadians (see also Dance in Canada).
The Empress Hotel is a luxury waterfront hotel and national historic site in Victoria, British Columbia. Designed primarily by architect Francis M. Rattenbury, it is noted for its picturesque Château-style design and decadent interiors. It opened in 1908 and was built by the Canadian Pacific Railway (CPR) as part of its network of hotels, which also includes the Banff Springs Hotel, Chateau Lake Louise and Le Château Frontenac. Now officially known as the Fairmont Empress, the hotel, along with its afternoon tea, is arguably Victoria’s most popular tourist attraction.
Contemporary Indigenous (Aboriginal) art is that which has been produced by Indigenous peoples between around 1945 up to the present. Since that time, two major schools of Aboriginal art have dominated the contemporary scene in Canada: West Coast Aboriginal art and the Woodlands school of Legend Painters.
Indigenous peoples in Canada developed rich building traditions thousands of years before the arrival of the first Europeans. Each of the six broad cultural regions of Indigenous peoples in Canada, defined by common climatic, geographical and ecological characteristics — the Arctic, Subarctic, Northwest Coast, Plateau, Plains and Eastern Woodlands — gave rise to distinctive building forms which reflected these conditions, as well as the available building materials, means of livelihood, and social and spiritual values of the resident peoples.