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The Canadian War Memorial That Never Was

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The Canadian War Memorial That Never Was Canadian Military History Volume 7 Issue 4 Article 5 1998 The Canadian War Memorial that Never Was Laura Brandon Canadian War Museum, [email protected] Follow this and additional works at: https://scholars.wlu.ca/cmh Recommended Citation Brandon, Laura "The Canadian War Memorial that Never Was ." Canadian Military History 7, 4 (1998) This Canadian War Museum is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Canadian Military History by an authorized editor of Scholars Commons @ Laurier. For more information, please contact [email protected]. Brandon: The Canadian War Memorial that Never Was Laura Brandon arly in 1996, I discovered that the two main protagonists in the drama: Eplan for the First World War Lord Beaverbrook, and Sir Edmund Canadian war memorial building to Walker, President of the Canadian Bank house Canada's war art had survived as of Commerce, Chairman of the Board of three water-colour designs in the Trustees of the National Gallery of Drawings Collection of the Royal Institute Canada, and a member of the Canadian of British Architects in London, England. War Memorials Fund committee. The two When I made an appointment to see them men worked together on the Fund in April of that year, I discovered that two committee commissioning works of art, were missing, and the third broken into three Beaverbrook in Europe and Walker in Canada. pieces.1 The Assistant Curator of the Drawings They differed, however, over where the art work Collection made it clear to me that the fragments, should eventually be housed. Ultimately, both lost while not even accounted for, and kept in out to other government funding priorities and deplorable condition, would never come to agendas, and a facility never was built. The war Canada as they were part of the papers of the art collections of the First World War, and the architect, E. A. Rickards.2 These small pieces of Second too, remain one of the country's great card, now housed 3,000 miles away, are neglected treasures. important evidence of one of the most ambitious commemorative building plans ever envisioned Beaverbrook never acquired the complete for this country. support of Walker. Sir Edmund had originally wanted to hire Canadian artists to make sketches The First World War art collection was the in the field as documentary records that would brainchild of Lord Beaverbrook, the Canadian- be turned over, along with archival material, to born entrepreneur, newspaper owner, member the Public Archives of Canada, the ultimate of the British Cabinet, and founder of the destination being a National Historical Gallery Canadian War Memorials Fund (CWMF).3 The associated either with the gallery or the archives. fact that there was no fitting memorial to the This building, and its documentary art, would Canadian success at the second battle of Ypres then have linked a planned new national gallery in 1915 inspired him to commission a vast and a new archives building on Sussex Drive.5 portrayal of the event by artist Richard Jack.4 Beaverbrook, on the other hand, wanted studio Further commissions followed, mainly to British pictures - many of them large-scale - that could, artists at first, but increasingly, after 1917, to as his initial vision saw it, be hung in public Canadians. By 1919, the collection consisted of institutions. In the end Walker reconsidered his nearly one thousand works, including depictions own plan, and wrote Beaverbrook on 11 October of units as varied as the Canadian Veterinary 1917, saying he would no longer pursue the Corps and the Canadian Forestry Corps, archival option, but would instead support the portraits of generals and Victoria Cross winners, latter's initiative in commissioning finished and scenes of most of Canada's major battles. compositions.6 Walker also wrote Eric Brown, the Director of the National Gallery, regarding This is the story of the failure to erect a his decision on 14 November 1917. "I do not wish building to house these works of art. There are to discourage [Beaverbrook's]effort which is © Canadian Military History, Volume 7, Number 4, Autumn 1998, pp.45-54. 45 Published by Scholars Commons @ Laurier, 1998 1 Canadian Military History, Vol. 7 [1998], Iss. 4, Art. 5 evidently sure to be made in any event, and out with the war, or that a separate gallery be of which some strikingly good things may come."7 established entirely devoted to that purpose. As the full scope of a new initiative by It was obviously the last suggestion that appealed Beaverbrook, to create a full-fledged war to Beaverbrook. As for Walker, he most likely later memorial building to house the war art, became regretted ever having included this final thought. clear in late 1917, Walker began to experience It not only weakened his case for a war art wing renewed doubts. As he became increasingly in a new national gallery, but also introduced the aware that government funds were limited, concept of a separate building to house the war Walker promoted a revised plan of his own that art apart from the National Gallery. incorporated the war art, after 1921 in the gallery's custody, into a single new national gallery Beaverbrook replied to Walker on 19 October building in the hopes of strengthening the case 1917, shortly after attending a dinner with a for such a purpose-built facility. number of the artists he had hired for the Fund. "The artists," he reported, "strongly held the view 9 In this Walker was ultimately as unsuccessful that a special building should be secured." as Beaverbrook was to be, and the gallery was never built. In 1971, the National Gallery Meanwhile, in Canada it was becoming clear transferred the collection, since 1946 enlarged that Beaverbrook's CWMF programme was going to include the art of the Second World War, to to require considerable storage space. On 16 the Canadian War Museum, which proved equally November 1917, Eric Brown wrote Walker unable to provide a purpose-built display space. expressing his concerns and arguing that the This certainly was not what Lord Beaverbrook housing of these works should be used as a had in mind when he gave the CWMF art to means of obtaining a new national gallery. He also Canada. Today, nearly 80 years after his bequest, thought it would be possible to argue for a new the housing and display situation of this unique archives building to house the records and and very important art collection remains trophies that were coming in with the art works: substantially unchanged. I do think that this immense acquisition by the War Records Office should be made as far as Ironically, Beaverbrook's plan for a separate possible an urgent reason for the building of the building seems to have had its genesis in the letter National Gallery and the Archives, for in some he received from Walker on 11 October 1917.8 part of them the material must be exhibited... I Here Walker made it quite clear that he saw would suggest I come down to Toronto next week Beaverbrook's work as assisting in his goal of and discuss the matter with you...because I think that we should not be behind hand with acquiring a national gallery building. He wrote: our end of the work if we wish to profit by the display of the War Records Office.10 ...there is no gallery of any kind at the moment and it may be that what you are doing will help Over the subsequent year energies were absorbed us very much in the creation either of larger Archives buildings or of the National Gallery, or in commissioning the artists which resulted in of both. the matter of housing being temporarily left to one side Walker then outlined three alternatives for housing the war art based on a plan drawn up When the war came to an end on 11 by the government's architect, Frank Darling, November 1918, a flurry of activity ensued. In a which earlier had received support from the letter to Walker of 26 November, Brown wrote prime minister, Sir Robert Borden. The war art that Sir Edward Kemp, the minister of the might go into an enlarged archives building, or Overseas Military Forces of Canada, had in a wing of a new national gallery, or into a requested some action regarding the housing of completely separate facility. He wrote: the war art, and that it appeared that the National Gallery plan was not widely known.11 This plan, One can.. .imagine your material as forming the Brown urged, should be publicized.12 "Ottawa is chief feature of a great historical gallery in full of discussion of War memorials buildings connection with the Archives, or, that in the both national and local," he wrote, "and I am sure National Gallery, although devoted to the fine arts, rooms to be set apart for works connected the time is ripe for our plans to be known to 46 https://scholars.wlu.ca/cmh/vol7/iss4/5 2 Brandon: The Canadian War Memorial that Never Was those in authority." On 9 December 1918, Beaverbrook unveiled his own plan in a letter to Walker: During the last three months we have been using the services of an architect to co-ordinate our work....[He] has conceived and drawn plans for a magnificent Memorial building which it is estimated would cost $ 1,250,000. He is a genius and if the building were carried out it would be a most magnificent home for our paintings, and a splendid culmination of our work.13 The next day he made his intentions even more clear in a memorandum to Kemp, that outlined his activities with the Canadian War Records, the umbrella organisation for the Canadian War Memorials Fund.
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