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Painters Eleven, Abstraction, and the Construction of Canadian Modernism in the 1950S

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Painters Eleven, Abstraction, and the Construction of Canadian Modernism in the 1950S “HARMONIOUS DISAGREEMENT”: PAINTERS ELEVEN, ABSTRACTION, AND THE CONSTRUCTION OF CANADIAN MODERNISM IN THE 1950S by Jessica Poon B.A., Barnard College, 2009 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History and Theory) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) June 2018 © Jessica Poon, 2018 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: “Harmonious Disagreement”: Painters Eleven, Abstraction, and the Construction of Canadian Modernism in the 1950s submitted in partial fulfillment of the by Jessica Poon requirements for the degree of Doctor of Philosophy in Art History and Theory Examining Committee: Dr. John O’Brian Supervisor Dr. Serge Guilbaut Supervisory Committee Member Dr. T’ai Smith Supervisory Committee Member Dr. Jaleh Mansoor University Examiner Dr. Tina Loo University Examiner Additional Supervisory Committee Members: Supervisory Committee Member Supervisory Committee Member ii Abstract This dissertation is an examination of Painters Eleven and the complex network of national and international discourses on modern art, abstraction, and cultural politics that converged in Toronto in the 1950s. As a practical grouping of artists, Painters Eleven relied on self-marketing and self-branding strategies to gain recognition for themselves as well as for modern art in general in English Canada. Through a close consideration of Painters Eleven’s paradoxical idea of “harmonious disagreement,” I explore the group’s artistic practices, exhibition practices and pursuits, public and private statements, and their career successes and failures in order to highlight the idiosyncratic and contradictory mechanics of the group. I argue that the tensions between rhetoric and practice, cohesion and incohesion, and amicability and antagonism in the group’s art and discourse form a complex series of conflicts—as well as attempts to overcome or smooth out these conflicts or frictions—which are at the crux of Painters Eleven’s significance for abstract painting in midcentury English Canada. This study reframes the relationship between Painters Eleven and their reputations as pioneers of midcentury Canadian modernism by investigating how the group conceptualized, curated, and constructed their own reputations as avant-garde radicals. It also considers what their discourse and practice in Toronto can reveal about a transnational network of experimental abstraction in the era following the end of the Second World War, where contemporaneous artistic and critical activities in centers like Montreal, New York, and Paris were similarly preoccupied with advancing modern art as a national or international cultural force. I seek to understand how Painters Eleven attempted to mediate and reconcile the universalizing convictions of modernism and progress in art, science, and technology with the increasingly urgent iii concern for national identity in Canada during this period. By examining Painters Eleven through the lens of a postwar cosmopolitan ethos and vision, this inquiry offers new insight into their significance for the construction of Canadian culture in the postwar era. iv Lay Summary The goal of this study is to understand why Painters Eleven, a group of eleven artists that formed in Toronto in the 1950s, are significant to the history of art in Canada. In existing scholarship, Painters Eleven tend to be dismissed because their paintings did not make a radical, long-term, international impact on the art world. My dissertation refutes this perspective by arguing that Painters Eleven’s artwork, ideas, and activities reflect their critical awareness of major developments in abstract painting that were happening on an international level. By revealing how Painters Eleven attempted to insert themselves into these contemporary dialogues, I make the argument that the group is crucial to understanding how artists in Canada conceived of modern and abstract art. I also examine how Painters Eleven’s art and ideas responded to larger concerns about cultural nationalism and internationalism in the period after the Second World War. v Preface This dissertation is an original, unpublished, independent work based on my own library and archival research. Initial consultation of MG30, D404, Harold Town fonds at the Library and Archives Canada, Ottawa, was carried out by Jaleen Grove in September 2014, and her notes and photographs were shared with me with the permission of the Estate of Harold Town. I conducted my own consultation of these same fonds in January 2015, guided by Jaleen Grove’s notes. The research cited in this dissertation is a result of my own investigation of these fonds and the ideas and analysis presented in relation to these archives are completely my own. vi Table of Contents Abstract ............................................................................................................................. iii Lay Summary .................................................................................................................... v Preface ............................................................................................................................... vi Table of Contents ............................................................................................................ vii List of Figures ................................................................................................................. viii List of Abbreviations ..................................................................................................... xiii Acknowledgements ........................................................................................................ xiv Chapter One: Introduction .............................................................................................. 1 Chapter Two: The Struggle for Abstraction in Toronto ............................................ 41 Painters Eleven, the Art Society, and the Public on “Modern Art” ...................... 46 The Artist, the Layman, and the Nation ................................................................ 75 Chapter Three: Internationalizing “Harmonious Disagreement” in New York .... 103 The Ideology of Harmonious Disagreement ....................................................... 107 Toronto Abstraction in New York ...................................................................... 113 Compatible Effects .............................................................................................. 129 Chapter Four: The Failure of Cosmopolitanism in Paris ......................................... 147 “We Sink or Swim On Our Own Worth” ........................................................... 149 Aesthetic Internationalism and the Transnational Cultural Outlook .................. 168 Chapter Five: Creating the Space of Modernism ...................................................... 177 Abstraction in Hamilton: Rising Above the Material ......................................... 185 The Space of Canadian Modernism .................................................................... 207 Chapter Six: Conclusion .............................................................................................. 233 Figures ............................................................................................................................ 241 Bibliography .................................................................................................................. 274 vii List of Figures Figure 1: Alexandra Luke, The Cloister, 1953, oil on canvas, Private Collection. ........ 241 Figure 2: Oscar Cahén, Candy Tree, 1952, oil on masonite, Collection of The Cahén Archives. Permission courtesy the Estate of Oscar Cahén ..................................... 242 Figure 3: Harold Town, Tumult for a King, 1954, oil and Lucite on canvas. Permission courtesy of the Estate of Harold Town. .................................................................. 243 Figure 4: Newspaper clipping, Rose Macdonald, “Is Art Revolution Here or Is It Doodling Phase?” Toronto Telegram, March 9, 1951, p.3, Collection of The Cahén Archives. ................................................................................................................. 244 Figure 5: Oscar Cahén, Rooster, 1951, oil, location unknown, reproduction from the Ontario Society of Artists 1951 Exhibition Catalogue, F1140-5, Ontario Society of Artists fonds, Archives of Ontario, North York, Canada. Permission courtesy of the Estate of Oscar Cahén ............................................................................................. 245 Figure 6: Jack Bush, Release, 1949, medium and location unavailable, reproduction from the Ontario Society of Artists 1951 Exhibition Catalogue, F1140-5, Ontario Society of Artists fonds, Archives of Ontario, North York, Canada. .................................. 246 Figure 7: Harold Town, The Politician, 1949, medium and location unavailable, reproduction from the Ontario Society of Artists 1951 Exhibition Catalogue, F1140- 5, Ontario Society of Artists fonds, Archives of Ontario, North York, Canada. .... 246 Figure 8: Stanley Cooper, Intersection, c.1951, medium and location unavailable, reproduction from the Ontario Society of Artists 1951 Exhibition Catalogue, F1140- 5, Ontario Society of Artists fonds, Archives
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