Interfaces of the Portrait: Liminality and Dialogism in Canadian Women's Portraiture Between the Wars by Marielle Aylen, B.F.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Master of Arts in Canadian Art History Carleton University OTTAWA, Ontario April First c 1996, Marielle Aylen National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie SeMces services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 OttawaON K1AON4 Canada Canâda The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. iii ABSTRACT This thesis examines the production of portraiture by Canadian women artists during the interwar period. Through an interrogation of the aperture which opened up for portraiture at this time, the thesis argues for a transitional period in Canadian art in which a shift toward social consciousness renewed interest in the human figure. Portraits by Lilias Torrance Newton, Paraskeva Clark, Jori Smith, and Prudence Heward are considered in relation to the political, social, and aesthetic implications of the dialogical triad of artist, subject, and viewer (Bakhtin: author, hero, reader). The portraits and their rnakers are analyzed with a view to describing the lirninal possibilities of both. During this era of sociopolitical turbulence, clearly delineated social roles became blurred, and thus offered new opportunities for self- expression and self-construction. Liminality emerges as a useful concept with which to map the shifting relations of public/private, self/identity, and of femininity to masculinity. One of the pleasures of completing a project cornes in recognizlng the important roles played by other people. I would like to acknowledge the invaluable assistance of Michael Bell, who generously shared his insights into the Canadian art scene of the 1930s and 1940s, and into the lives and works of the artists. 1 would like to thank Natalie Luckyj for introducing me to artists of this period. 1 am also grateful for the suggestions of Ruth Phillips during the final stages of revision. I would like to acknowledge the Faculty of Graduate Studies and Research and the School for Studies in Art and Culture, which provided the resources to travel to other cities to view works that would have remained otherwise inaccessible. Special thanks must go to Marlene Briggs, whose practical assistance ensured that this thesis became hard COPY 1 wish to thank my father, Derek Aylen, for introducing me to, and fostering my interest in art, and my mother, Denyse Aylen, for encouraging me to look behind the masks that people Wear. My fascination with portraiture begins with them. Finally, 1 would like to thank Allan Pero, without whose tireless patience and intellectual and practical support, this project would not have been the same, and much of it would not have been completed . TABLE OF CONTENTS Abbreviations vii List of Illustrations viii Chapter 1 Exploring The Gap 1.i Literature Review 1.i.i Methodology and Key Concepts l.iii Liminality Liv Public/Private 1.v Self/Identity Lvi Dialogism and the Triad Lvii The Chapters Chapter 2 Redefining the Artist's Role in Society 26 2.i The Federation of Canadian Artists 2.ii Lilias Torrance Newton: Commissioned Portraitist 2. iia Self-portrait as Self-promotion 2.iib Conclusion 2. iii Paraskeva Clark: Aesthetic Portraitist to Community 2. iiia Marxism and Self-portrait with Concert Proqramme 2 .iiib Art and Polemics 2. iiic Portraiture and the Paradoxical Vision 2. iiid Self-promotion, Dialogism, and Liminal ity Chapter 3 Reconstructing Social Roles: The Portrait as a Liminal Space Lilias Torrance Newton: Commissions and Collaboration The Self-Constructing Subject: Portrait of Eric Brown Artist as Portrait Subject Fashioning the Subject: Portrait of Mrs. Gillson Masculine Identity and the Social Sphere Feminine Identity and the Social Sphere Paraskeva Clark: Portraits of Intimacy 3. iia The Gaze in a Liminal Space: Portrait of Philip 78 3.iib Portrait of Subject as Self- Ideniification: Portrait of Naomi Yanova 82 3.iic Closing the Gap 86 3.iii Prudence Heward: Portraitist of Independent Means 89 3.iiia Liminality and the Modern Woman: Mrs Zimmerman and Famer's Daughter 90 Chapter 4 Newton, Smith, and Heward: Dialogism, Feminine Identity, and the Viewer Newton: Collaboration and Process Depicting Adolescence: Dialogism and Anxiety The Subversive Portrait: Formalism and the Feminine Experience Smith: Aspects of Feminine Identity in the Charlevoix Region 4. iia Smith and Children: Portraying the Anxiety of the Age Recording Culture: Smith and the Creation of a Chronotope 4. iic Context and Feminine Identity: The Political Power of Oral Discourse La Communiante: A Chronotope of Feminine Experience Heward: Feminine Consciousness, Identity, and Sexuality 4. iiia Portraits of Emerging Consciousness 4. iiib The Subversion of Voyeurism: Dialogism and Feminine Sexuality 4. iiic Dialogism and the Nature of Becoming Chapter 5 Conclusions 129 Appendices Illustrations Bibl iography vii AAM Art Association of Montréal AEAC Agnes Etherington Art Centre, Kingston AGH Art Gallery of Hamilton AGNS Art Gallery of Nova Scotia, Halifax AGQ Art Gallery of Ontario, Toronto AGT Art Gallery of Toronto AGGV Art Gallery of Greater Victoria ALC Arts and Letters Club, Toronto BHHG Beaver Hall Hill Group, Montréal CAS Contemporary Arts Society, Montréal CGP Canadian Group of Painters CUAG Carleton University Art Gallery CSGA Canadian Society for Graphic Artists CSPWC Canadian Society of Painters in Water Colour DAG Dalhousie Art Gallery, Halifax FCA Fedetation of Canadian Artists H.H. Hart House, University of Toronto, Toronto MSAC Macdonald Stewart Art Centre, Guelph MAG MacKenzie Art Gallery, Regina MBAC Musée des beaux-arts du Canada MMFA Montréal Museum of Fine Arts MOMA Museum of Modern Art, New York NAC National Archives of Canada NGC National Gallery of Canada, Ottawa OCA Ontario College of Art, Toronto OSA Ontario Society of Artists, Toronto PLS Picture Loan Society RCA Royal Canadian Academy RMC Royal Military College viii LIST OF ILLUSTRATIONS 1. Lilias Torrance Newton, Self-Portrait, 1929, oil on canvas. National Gallery of Canada. 2. Paraskeva Clark, Self-Portrait, 1931-32, oil on cardboard. Private Collection. 3. Paraskeva Clark, Self-Portrait with Concert Proqramme, 1942, oil on canvas. National Gallery of Canada. 4. Paraskeva Clark, Self-Portrait, 1937, watercolour on paper. Dalhousie Art Gallery. 5. Paraskeva Clark, Self-Portrait, c.1929-1930, watercolour on paper. Collection of the artist at time of death. 6. Paraskeva Clark, Self-Portrait, 1933, oil on canvas. National Gallery of Canada. 7. Lilias Torrance Newton, Portrait of Eric Brown, c.1933, oil on canvas. National Gallery of Canada. 8. Lilias Torrance Newton, Portrait of Lawren Harris, c.1939, oil on canvas. National Gallery of Canada. 9. Lilias Torrance Newton, Portrait of A.Y. Jackson, 1936, oil on canvas. National Gallery of Canada. 10. Lilias Torrance Newton, Lady in Black, (Mrs. A.H.S. Gillson), c.1936, oil on canvas. Montreal Museum of Fine Arts, William Cheney bequest. 11. Paraskeva Clark, Portrait of Philip, 1933, oil on canvas. Collection of the artist at time of death. 12. Paraskeva Clark, Portrait of Naomi Yanova, 1934, oil on canvas. Private Collection. 13. Prudence Heward, Portrait of Mrs. Zimmerman, 1943, oil on canvas. National Gallery of Canada. 14. Prudence Heward, Farmer1s Dauczhter, 1945, oil on canvas. National Gallery of Canada. 15. Lilias Torrance Newton, My Son, 1941, oil on canvas. Art Gallery of Ontario. 6. Jori Smith, La Communiante, 1944, oil on canvas. National Gallery of Canada. 17. Prudence Heward, Efa, 1941, oil on canvas. Private Collection. 18. Prudence Heward, Barbara, 1933, oil on canvas. Private Collection. 9 Prudence Heward, Farmhouse Window, 1938, oil on canvas. Art Gallery of Hamilton. 20. Prudence Heward, Ellen, 1935, oil on canvas. Mrs. R.C.P. Webster. 21. Prudence Heward, Rollande, 1929, oil on canvas. National Gallery of Canada. 22. Prudence Heward, Sisters of Rural Ouebec, 1930, oil on canvas. Art Gallery of Windsor. 1. EXPLORING THE GAP: WOMEM PORTRAIT PAINTERS IN WADA This thesis will examine the production of portraiture by four Canadian women during the interwar period. 1 shall argue for a reconsideration of portraiture's importance to Canadian art history, and go on to consider a selection of portraits by Paraskeva Clark (1898-1986), Prudence Heward (1896-1947), Lilias Torrance Newton (1896-1980), and Jori Smith (1907-). This chapter includes a xeview of the art historical literature from 1925 to 1993 to support my contention that while many artists took up the genre during the 1930s and 1940s, aesthetic portraiture' of the period retains a marginal place in the art historical canon. The portraits considered in later chapters represent only a small fraction of the work produced, and are intended to provide a few examples of the treatment of the human figure by a number of artists who, in spite of their individual concerns, shared an interest in representing the character of their sitters. I will argue that the emotional intensity of these works is characteristic of the modern preoccupation with the theme of the alienated or isolated subject, a theme which questioned the role of the individual in society.