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Documentary Art Project Key Artists Images in the Documentary Art Project • First • Eskimaux men of Between 1818 and 1851, Commander Communication Igloolik (Lyon) John Ross of the Royal Navy made several (Sackheouse) • Eskimaux women expeditions to the Canadian Arctic in the • HBC Ships Prince of Igloolik (Lyon) search of the Northwest Passage. He was one of Wales and • An Eskimaux of the few Arctic explorers who learned about Eddystone Grave (Lyon) Inuit survival. Ross and his crew were able to (Hood) • Eskimaux children survive for four consecutive years with the • Great Danger of dancing, Igloolik help of traditional Inuit food, furs and the ship (Lyon) clothing. Portrait of two Esquimaux Interpreters - Wellington… • Eskimaux man and Engraving; Sir George Back, 1823 Sackheouse, called Sackhouse by the British (Rindisbacher) woman of Savage sailors, came from southern Greenland to • Portraits of two Island (Lyon) work for the Royal Navy when he stowed away Esquimaux • Esquimaux of the on a whaling ship that was set for England. Interpreters Inlet called the There he learned drawing, and became a naval (Back) Clyde River artist. • The Manner in (Beechey and which the Hoppner) ART CENTURY George Back served on two expeditions to Esquimaux Women • Interview with the the Arctic between 1819 and 1827. His are Tattooed Eskimaux of the ughthe art of 19th century Europeanmariners sketches, drawings and writings document the extraordinary landscape of the Arctic, as well (Lyon) Thleweechodezeth TH as the wildlife, vegetation and people of the • Sadlermiut man (Back) area. paddling an inflated • Group of walrus skin boat Eskimaux at Robert Hood travelled to the Arctic only (Anonymous) Igloolik (Lyon) 1st Communication with the once, but left a number of beautiful • North Hendon. • Eskimos (Bramati) Natives of Boothia felix - Aquatint; Captain John Ross, 1834 watercolours before his untimely death in the Snow Cottages of • Esquimaux Man north. the Boothians Dancing (Finden) (Ross) • Eskimaux During his 1821 expedition to the Canadian • 1st Communication Watching at Seal Arctic, George Lyon was able to forge a strong social relationship with the Inuit, with the Natives of Hole (Lyon) especially in and around Igloolik. He and his the Boothia Felix • Snow Village of the crew visited the Inuit settlement regularly, and (Ross) Eskimaux (Lyon) records show there was fiddling and dancing on the decks of the ship. This connection allowed Lyon to produce remarkable paintings and engravings. wo6fyoEp4f5 Pitquhiliqiyikkut An Eskimo Grave - Department of Culture, Language, Elders and Youth IN 19 NUNAVUT Engraving; Captain George Ministère de la Culture, de la Langue, des Aînés et de la Jeunesse Francis Lyon, 1825 thro Nunavut of history artistic the Exploring T his assortment of artwork was produced mainly by naval officers on their military voyages, although Inuk translator John Sackheouse also produced some pieces. Many were trained in draftsmanship and water colour sketching at the CENTURY ART ART CENTURY royal military academy in Woolwich, England, TH while others were taught on-board their ships. Many of the images narrate the search and discovery of the Northwest Passage, as well as Interview with the Eskimaux of highlight the differences between traditional Inuit the Thleweechodezeth - values and the more modern British techniques. The Hudson’s Bay Company Ships Prince of Wales Engraving; Sir George Back, 1836 and Eddystone Bartering with the Eskimos off the Upper Savage Islands - Watercolour; Lieutenant Robert Hood, 1819 NUNAVUT IN 19 NUNAVUT T his collection of artwork documents uring the 19th century, there were dozens Nunavut’s origins and traditional values or Inuit D Qaujimajatuqangit. It highlights Nunavut’s evolving of British naval expeditions in search of the Northwest Passage. It was important to keep history, and preserves these records for all. visual records of the unchartered lands of the Archives represent the past, and are they are the foundation for our future generations. Arctic, and this created historical artwork. The 30 pieces chosen for this collection allow us a For more information about this project and the connected view of the development of Nunavut, showcased artwork, contact: during the British explorations of our region in the Department of Culture, Language, 1800s. Eskimaux children dancing - Elders and Youth Aquatint; Captain George Francis Lyon, 1823 Government of Nunavut P.O. Box 1000, Station 800 Iqaluit, NU X0A 0H0 Phone: (867) 975.5500 Perhaps the most striking thing about 19th century art depicting life in Nunavut is the contrast of cultures. The artwork shows British mariners pulling their sleds, rather than using dogs or building snow houses like the Inuit. Inuit clothing is perfectly adapted for Arctic weather, while that of the overseas explorers is less than ideal for the harsh conditions of Nunavut. It also becomes obvious that the British ships were unfit to travel through rough Arctic waters and passages. North Hendon. Snow Cottages of the Boothians - First Communications with the Coloured Engraving; Captain John Ross, 1834 Natives of Prince Regents Bay - Graphic; John Sackheouse, 1819 .
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