N 1-1

Painted Ontario

In this issue: Communities embracing our landscapes Collections for the people The world according to Homer Off the wall v.

www.heritagetrust.on.ca N 1-2

fr HiSt0ryand^rchaeo/ogy EXHIBITIONS EDUCATION EVENTS GIFT SHOP I—a. Re$earch EXHIBITIONS January 13-March 31 Writk Library &Arch iva/ Outsiders: Lome Wagman and Genera//nterest PaulStankard Design emk&R<»°« A Life: Virginia Smith AJBUULm C°nimemorativeP,aques April 7-June 2 Joyce M.Wright, PhD E^cationa/Poste4rs&' Gordon Monahan: Seeing Sound [email protected] V'S'tor Brochures §1Z David Alexander: Box 82 • South Mountain, ON • KoE 1W0 •and more' The Shape of Place

Ongoing Canadian Spirit: The Tom Thomson Experience

Robert J. Burns, Ph.D. 840 First Ave. West, Owen Sound ON Canada N4K4K4 Heritage Resources Consultant P: 519-376-1932 • Historical Research and Analysis tomthomson.org • Home and Property History TOM THOMSON ART GALLERY \=rjr—"5U Jaras- ® -.fese su • Corporate and Advertising History • Heritage Product Marketing Research

"The Baptist Parsonage" (est.1855) "Delivering the Past" 46249 Sparta Line, P.O. Box 84 [email protected] Sparta, ON NOL2H0 www.deliveringthepast.ca Tel./Fax.: (519)775-2613

matter to your

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For ad rates call 416-325-5015 www.heritagetrust.on.ca/ heritagevenues N 1-3 A message from the Chairman Feature story Painted Ontario Art has been used, over time, to express our varied relationships to the places and landscapes that comprise what is now Ontario. Methods of artistic aim expression continue to be used by First Nations to denote a special and spiritual tie to the land. Visual Herl£a4e/vuLHers art has also been used as a tool of representation and documentation by explorers encountering landscapes for the first time, and by settlers coming to terms • with their new surroundings. Historically, artists were also specifically commissioned to document conflict and growth, and to represent and inform. Visual art, therefore, serves as something of an archival record ­ an expression of society at a particular point in time Painted Ontario and place. In this way, it has provided perspective on ***<. significant built, cultural and natural elements, telling the story of the province's unique landscapes, buildings and places. •n Artists, too, occupy an important place in the story of the province. Through their work, they have inspired us to imagine and interpret Ontario from different perspectives. They continue to capture and contemplate themes that explore the past, present and future of the province - urbanization, demographic change and the impact of technology on society and the natural environment. The work of artists in Ontario, past and present, has made an immense contribution to the creative life of our province.

Heritage Molten is published in English and French and has a combined circulation ol 9.200. Digital copies are available on our website .11 www.heritagetrust.on.ca. \ crwv ^M^NW«T<*-r> Advertising rates: Colour Business card-$150 plus HST 14 page - $300plus HST Thomas H.B. Symons, C.C., O.Ont, FRSC, LLD, D.Litt., D.U., D.Cn.L, FRGS Inserts - Call to inquire about our exceptional rates. For information, contact: Ontario I Icritage Frust 10 Adelaide Street East, Suite 302 Toronto, Ontario M5C IJ3 Telephone: 416-325-5015 TABLE OF CONTENTS Fax:416-314-0744 Email: [email protected] Website: www.lieritagetrust.on.ca NEWS FROM THE TRUST © Queen's Printer for Ontario, 2013 Exploring the heritage of human rights © Ontario Heritage Trust. 2013 Photos © Ontario Heritage [rust, 2013, unless otherwise indicated. A tribute to Lincoln Alexander Produced bythe Ontario Heritage Trust(an agency of tin* Ontario Ministry Heritage and the arts: Seeing Ontario from a whole new perspective of tourism, Culture and Snort).

TELLING ONTARIO'S STORIES Editor: Gordon Pirn Archaeological treasure in a provincial park Graphic Designer: Manuel Oliveira The world according to Homer ,, IInspublication isprintedon recycled paperusing vegetable oil-based inks. Help us protect our environment FEATURE STORY by passing along or recycling tinspublication when you have no further need for it. Painted Ontario Aussi disponible en francais. ADAPT/REUSE Ilie inclusion ol am advertisement or insert in this publication does not imply Offthe wall or constitute an endorsement or acceptance by the Province ol Ontarioof any COMMUNITIES IN ACTION ol theadvertisers, products or services advertised. The Ontario Heritage Inist is not responsible lor errors,omissions or misrepresentations contained in any Communities embracing our landscapes 12 advertisement or insert. TREASURES Publication Agreement Number 1738690 Collections for the people: The Government of Ontario ArtCollection 14 E&OI ISSN 1198-2454 (Print) ISSN 191 1-446X (PDF/Online) WHAT'S ON 16

THE COMING MONTHS 17 02/13

ONTARIO HERITAGE TRUST

k Ontario BRINGING OUR STORY TO LII-'li

Cover image: Post Romano Fool's Paradise, 1948, by Doris McCarthy (1910-2010). Used with permission. Fool's Paradise, McCarthy's former homeand studio, was donated to the Ontario The views and opinionsexpressed in this publication arcthoseol the Heritage Trust in 1998.A posterof this painting was created in 2005 to celebrate the site. authorsand do not necessarily reflect the views and opinionsol the To purchase a copy, visit www.herilagetrust.on.ca/merchandise. Ontario Heritage Trust or the Governmentof Ontario; N 1-4 Exploring the heritage of

human rights By Dawson Bridger

On October 18,2012, the Ontario Human Rights Commission andthe Ontario Heritage Trust held a dialogue on human rights, attracting over 200 people to discuss the past, present andfuture ofhuman rights in Ontario. This event - and the unveiling ofa provincial plaque by theTrust in June 2012 - were partofa year-long program to commemorate the 50th anniversary of Ontario's Human Rights Code. The dialogue wasopened by Harvey McCue, Vice-Chair oftheTrust and the day's emcee, and Barbara Hall, Chief Commissioner of the Ontario Human Rights Commission. Over thecourse ofthe day, participants heard from a diverse group of speakers and organizations, and enjoyed three panel discussions. Leading lawyers, academics and activists discussed howthey have personally influenced change, thecurrent stateofaffairs, andemerging human rights issues inOntario. Participants alsoexplored an expo of human rights organizations, with displays from organizations showcasing race, gender, sexual identity and diversity. With ampleopportunities to ask questionsand share opinions, there was a great exchange of ideas among people who may notfrequently interact. ItistheTrust's hopethat the conversations and connections that started at the dialogue will help to stimulate the work and activism of the people and organizations who attended, and positively impact the next 50years ofhuman rights activity in Ontario.

Beth Hanna, the Trust's Executive Director, addresses the Dawson Bridger isa Community Programs Officer (Acting) with crowd attending the dialogue on human rights. the Ontario Heritage Trust.

A tribute to Lincoln Alexander By Thomas H.B. Symons Ihadthedistinct pleasure ofknowing andworking with the Honourable Lincoln M.Alexander for six decades. As thecurrent Chair ofthe Ontario Heritage Trust, Iamhonoured to pay tribute to Lincoln as ourpastChair andto his many contributions to the life of his community, his province and his coun try. He truly was a remarkable man who was not afraid tochallenge the status quo orto envision and pursue high goals. His actions and abilities helped to bring about important changes ineducation, politics and human rights - to name just a few. Lincoln wasappointed to the Board ofthe Ontario Heritage Trust in2001 andassumed the role ofChair in2004. During his tenure, he participated actively inTrust activities andevents, bringing with him a sense of fun anda natural ability to connect meaningfully with people incommunities across the province. Lincoln also demonstrated a special care and concern for theinstitutions and I— heritage ofthe province. His tenacity andcommitment to heritage preservation and promotion before, during andafter his time as Chair was a great support to the work ofthe Trust. Z) Lincoln's life of public service, his commitment to hard work, his belief in theimportance of education, and his faith inthe potential ofyouth set a wonderful example for all Canadians. He was a r— splendid friend to heritage and a true statesman. He will be greatly missed.

Thomas Symons is the Chair of the Ontario Heritage Trust.

o

Ll_ un The Honourable Lincoln M.Alexander, 1922-2012. N 1-5 Heritage and the arts: Seeing Ontario from a whole new perspective By Mike Sawchuck

Daytrippers andcultural explorers will have theopportunity to seethe province in a whole new light during Doors Open Ontario 2013. The provincewide theme this year - Cultural expressions ­ encourages participating communities to celebrate the relationship between heritage andtheartsduring local Doors Open events. Explore artsandcultural centres or places that have been captured in famous works ofart. Experience special thematic programming ­ art exhibits, workshops, demonstrations, theatrical performances or concerts. However you participate, you will have the opportunity to view some ofOntario's most interesting landscapes through theeyes of an artist. Anumber of new communities join the program for the first time in 2013, giving loyal program followers a supply of new and interesting sitesto visit. With over 55 separateevents, there will be a wide choice oftravel opportunities and destinations. And, as always, admission to Doors Open Ontario sites is completely FREE - so, there's nobetter time to experience all that ourprovince hasto offer.

Mike Sawchuck isa Community Programs Officer with the Trust.

mm

DOORS OPEN ONTARIO 2013 Cultural expressions

Artist Sylvio Gagnon displays his painting oftheVeterans Memorial Building during Doors Open Markham.

Discover the story behind every door This year's events begin inApril and continue through the doorsopenontano.on.ca spring, summer andearly autumn. Visit the Doors Open Ontario website at www.doorsopenontario.on.ca, orcall fc>r *%fdfa* ^ & 1-800-ONTARIO (1-800-668-2746) for a copy ofour new program brochure. N 1-6 Archeological treasure in a Reprinted with permission (Windspeaker, Volume 28, Issue 4, 2010)

Petroglyphs Provincial Park.

UJ North America's largest collection of petroglyphs remained undisturbed These mysterious petroglyphs arecarved into an outcropping of for centuries. Then in 1954, threegeologists outon a survey discovered smooth white, crystalline marble resembling a giant platethat slopes en these strange rock carvings onan outcrop ofcrystalline marble/limestone slightly to the southeast and iscompletely surrounded by dense forest. o hidden deep in the boreal forest, right onthe southern edge ofthe Deep crevices inthe surface are thoughtto lead to the spirit world and I— Canadian Shield. an underground trickle ofwater isinterpreted as a place where the spirit The press was alerted, but the images remained untouched until speaks. un 1967when two experts from Trent University revealed that overmany No official dates pinpoint whenthese mysterious figures were O centuries, nomadic First Nation people had carved more than 900 carved, but it is estimated that sometime between 900 and 1400 AD petroglyphys into a 24.6 mx 14.6 slab ofrock, deep in the forest 40 km nomadic Algonkians discovered the marble slab. from Peterborough, Ont. Using sharpened stone and bonetoolsthey created their stories in < Most petroglyphs, which are small figures carved in rock depicting stone. And, because noneof thesecarvings indicate daily activity, they everyday life, arefound onvertical, sheer surfaces in inaccessible places arethought to tell stories ofa deep spiritual nature about the culture in remote spots around the world. But Peterborough's petroglyphs are and beliefs of those ancient nomads. O different and considered sacred.

UJ r- N 1-7 provincial park By Katherine Mclntyre

Fast forward tothe late 20th century. When stories ofthis unique rock became publicized around the world, the Ontario provincial government declared the site of unusual historic interest. In brief consultations with representatives from the nearby Curve Lake First Nation, they stepped into protect the carvings by incorporating them into a provincial park. When they started to show signs ofdecay from algae andacid rain, they were preserved ina climate-controlled glass house while thesurrounding park wasleft as a boreal forest. "The glass house hasproved controversial," said Anne Taylor, an Ojibwa and theCurve Lake Nation cultural archivist. "We believe thateverything returns to nature. Originally the rock artwas covered with moss to protect it. We could push aside the moss andseethe pictures. Maybe glass andsteel were nottheright materials to use andwe believe thatthe building doesn't really face east, which isourcustom." "But," sheadds, "the rocks area teaching place. You canfeel their knowledge. People come from all around theworld, searching for something missing in their life. It's a good place!" Signs within the park request that visitors arequiet and respect the sacred rocks. Photography ofthe rocks isforbidden, butElders areallowed to burn sage, cedar, sweetgrass andtobacco onan offering rock in sacred ceremonies within the glass house. Curve Lake Nation and Ontario Parks havea unique partnership. Curve Lake Nation isthe principal custodian of Petroglyph Provincial Park andtribe members arethe official caretakers ofwhatthey proudly refer to as their Kinomagewapkong orTeaching Rocks. Their Petroglyph committee works with Ontario Parks. Students from the reserve are in charge ofthe front gate andwork on park maintenance. The small gift shop sells handcrafts made by members of the Curve Lake Reserve, andthe Learning Centre, which displays information aboutthe The Peterborough petroglyphs are the largest known concentration of Ojibway Medicine Wheel, isrun by Parks Canada. Aboriginal rock carvings in Canada with over 900 images representing a To preserve the park as sereneand quietretreat, thereare no food wide variety ofanimal and human forms, as well asabstract and symbolic stands, justhiking trails meandering through surrounding forests, wetlands artistic expressions. They provide evidence of the rich spiritual life ofthe and rocky ridges. Algonkian peoples who carved them between 900 and 1400A.D. Petroglyphs Provincial Park islocated at 2249 Northey's Bay Road in Asacred site, the park isoperated byOntario Parks with Curve Lake First Woodview, Ont. Call 705-877-2552. The park isopen until Thanksgiving Nation as the spiritual custodians (who refer to the site as daily from 10a.m. to 5p.m. Special evening programs are held every Tuesday "Kinomagtewapkong" orTeaching Rocks). Curve Lake operates the visitor centre tocommunicate the spiritual significance of the Teaching Rocks andWednesday through July and August.

Katherine Mclntyre isa staffwriter for Windspeaker, Canada's national Aboriginal news source. N 1-8

The world accor to Homer By Faith Hieblinger

The Pioneer Mill, 1880, by Homer Watson, oil on canvas, 86 x 127 cm, Royal Collection Homer Watson, from the Homer Watson House (Photo: Royal Collection Trust/© HM Queen Elizabeth II 2012). &Gallery collection.

The local newspaper writes: "In this newworld, great painters are fewer butalso it began thedocumentation of the relationship that he enjoyed than inolder countries, butit may be said of Homer Watson that hewon, with the land in Ontario at the turn of the last century. for his native land, distinction and honour in recognized art circles Watson's work depicts moody pastoral scenesinspired bythe dramatic throughout the world." landscape surrounding his home - overcast and stormy skies, often a lone Born intopoverty, inthe small southern Ontario village of Doon, traveller, a logger or a farmer engaged in the everlasting dancewith Homer Randsford Watson (1855-1936) began his life in hardship. Losing nature. Combining the drama of naturewiththe widely held notion that her husband to typhus, Watson's mother struggled with five young children Canada wasa newworld, unspoiled and virtuous, Watson createda and a defunct mill. His schooling wasmarked by reprimands for his romantic vision of southern Ontario. He avoided the vibrant colour and doodles anddrawings. Eventually, he abandoned school at theageof 11 stylized forms preferred by his successors, the Group of Seven, for the to work at the local mills with his older brother Jude. Watson and his studious observation of woodland, meadow, river and sky interspersed brother enjoyed small moments of reprieve, exploring the forests andrivers with a mill orcottage. He typified the rural landscape of the 19th century, around the local village. Then tragedy struck onceagain when Watson recording the optical facts of the environment that he rendered poetically witnessed his beloved brother Jude's violent death in a milling accident. as well as scientifically. Homer Watson spent increasingly more time away from home roaming In 1936,when Homer Watsondied, Prime Minister Mackenzie King the countryside, painting. Atthe age of 17,he travelled to Toronto where remembered him as a beautiful soul and wrote this in hisdiary about the his love affair with painting was solidified and his dream of becoming an loss: "a man I really and truly loved, a great gentleman and a great artist, artist fuelled. Watson was urged to "quit the nonsense ofgoing into art" his passing marks the end of an era." and go "intothe office and become a businessman." Atthe age of 25, however, Watson entered the Royal Academy ofArts Exhibition held at Ottawa's Clarendon Hotel. His painting, entitledThe Pioneer Mill (1880), was purchased by the Marquess of Lome, Canada's fourth governor general, who gifted the painting to his mother-in-law, Queen Victoria. It Faith Hieblinger is the Executive Director/Curator of Kitchener's Homer remains to thisdayhanging in Windsor Castle. Not only did thisevent Watson House &Gallery. For more information about this fascinating man establish Watson's place in history as a forerunner of the arts in Canada, and his collection, visitwww.homerwatson.on.ca. N 1-9

Painted Ontario By Sam Wesley

The Trust holds an easement on St. Anne's Anglican Church in Toronto ­where you will find the only known religious works oftheGroup ofSeven.

Paintings arevaluable sources of information for anyone interested in Despite these concerns, let us trace the history of painting in Ontario exploring ourheritage. Wecan usethemto glimpse intothe past - to and examine how artists and artistic movements have influenced each extract andexplore information aboutthe subject matter oraboutthe other throughout the centuries. context in which they were created anddisplayed. Apainting isa product European painting traditions were introduced to the province in the ofa particular time and place, and although colours fade and paint may late 18thand early 19thcenturies by gentleman officers, colonial crack, a painting still meets our eye largely unchanged from the time ofits administrators and their wives. Initially, painting inthen-Upper Canada creation. This time capsule-like quality ispartofwhatmakes paintings so consisted mostly ofsmall-scale watercolour landscapes. The painters were compelling and intriguing. usually amateurs who, being truly "gentle" men and women - such as But paintings can alsodistort time. Artists often look backward when Elizabeth Simcoe, the wife of Lieutenant Governor John Graves Simcoe, creating a painting; they incorporate painting traditions and conventions and George Heriot, the Deputy Postmaster General of British North that may have emerged centuries earlier, out of very different historical America - painted in their leisure time. Watercolour was theirchosen contexts. To further complicate the relationship between a painting anda medium because they were usually on the move and watercolours were particular time andplace, artists alsooften look forward when creating a transportable and dried quickly. painting in an attempt to anticipate future viewers, future sitesof Some of these watercolours are lovely, intimate works, butthey often exhibition or display and perhaps future commissions and career 5 also combine different stylistic influences to create interesting tensions. cz opportunities. Many artists try to move in newdirections, making their Many of the officers who painted in Upper Canada at the time learned to works unique, groundbreaking oravant-garde. They wantto be ahead of paint as part of their military training, in orderto createaccurate m their time. Additionally, paintings, nomatter how old, are active pieces of topographical records for military purposes. This purpose was reflected in on culture that are viewed, interpreted and recontextualized over and over, their watercolours. Painting intheir leisure time, however, they employed —I giving them newlife and newmeanings. conventions from British picturesque landscape painting that softened o

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Painted Ontario continued

and idealized what was, in reality, rugged Canadian wilderness, producing works thatare interesting, ifsomewhat unconvincing. Notions of ownership and possession, bothof land and ofart,werecentral to the 19th-century British landscape tradition - be it military or picturesque - and it is interesting to contemplate the watercolours created in Upper Canada with these themes in mind. In the first decades of the 19thcentury, mostprofessional painters working in Upper Canada were itinerant portraitists from Europe or the United States who passed through, receiving commissions from a few wealthy patrons. But there wasusually notenough money orwork in the province to sustain them. One notable exception wasthe French painter George Theodore Berthon, who arrived in Toronto in the 1840s and enjoyed a successful career painting society portraits. Another wasPaul Kane who travelled throughout the country painting portraits, landscapes and genre scenesin First Nations communities. His study and portrayal of First Nations often displays a genuine respect for his subjects, while showing the penchant at that time for recording, categorizing and examining these "exotic subjects" as partof the imperial project. Elizabeth Simcoe, Fanfield on the Gananocoui, below Kingston, Throughout the 19th century as well, painters working in Ontario were September 15,1795, watercolour, F47-11-1-0-145, Archives ofOntario. influenced by European academic styles. But the realities ofwhat wasthen a pioneer society often undermined their lofty aims. In the mid-19th century, fine artscategory wasbroadly interpreted. Paintings were exhibited alongside before the introduction of artistic institutions, associations and galleries, the furs, wax flowers, crafts and tools, and even dentures. Interestingly, today, many only public exhibition spaces for Upper Canadian painters were agricultural artists have returned to this more eclectic view offine arts- including folk art, fairs. Paintings could be displayed here and prizes awarded for those deemed crafts andother objects. exceptional. These competitions, however, were often dubiously judged and the Starting in the 1870s, serious efforts were made to change this situation by establishing art institutions modelled on those in Europe. The goal ofartists was threefold - to raise the statusof the artistto that of professional, to create appropriate spaces in which to exhibit, and to improve Ontario's taste through education andexposure to art.The predecessors ofthe National Gallery of Canada, theArt Gallery ofOntario, the Ontario College ofArt, and theOntario Society ofArtists were all created in thelast decades ofthatcentury. By this time, Ontario hadnumerous professional artists, most ofwhom hadtrained at art academies in Paris and across Europe. Their training was based on rigorous study ofthe human figure andthree-dimensional representation through light andshadow. Painters were encouraged to produce highly finished, sentimental narrative scenes.Ontario artists Paul Peel and George Agnew Reid worked in this genre. Atthe sametime, too, landscape painting re-emerged as a force inthe province. Influenced by the French Barbizon school and by the English landscape painter John Constable, painters such as Homer Watson created highly detailed, idealized rural scenes in dark, muted colours. Again, superimposing European conventions on Canadian landscapes created paintings that were occasionally incongruous, but that also reflected a province still being settled. Itshould be George Agnew Reid, The Homeseekers, oil on canvas, 180.3 x 273cm. noted that, by this time, portrait painting was indecline as patrons wereturning Governmentof OntarioArt Collection, 619838. instead to the newart of photography. N 1-11

George Theodore Berthon, Hon. Donald Alexander Macdonald [Lieutenant Governor of Ontario, 1875-1880], oilon canvas, Kazuo Nakamura.Two Horizons, oilon canvas, 261.6 x 196.9 cm. Governmentof Ontario Art Collection, 619763. 109.2 x 81.3 cm. Governmentof Ontario Art Collection, 693132.

At the beginning of the 20th century, major changes were happening championed inart schools, galleries and the press. Canadian identity was to art in Europe that reflected increasingly industrialized, urbanized now defined as a response to the landscape. Although only tentatively societies in flux, and expressed a sense of anxiety and alienation that this modern compared to the direction painting was taking elsewhere, change elicited. In Paris, for instance, Picasso and others were breaking the Group of Seven nonethelessinspired a new generationto experiment down and reconfiguring forms and experimenting with the possibilities of and expand. artistic media. The Group of Seven's work revitalized Canadian art and suited Artists working in Ontario were far removed from these innovations, but Canada's urgeto national self-definition. But it also brought about some some, such as the landscape painter David Milne, began to move away from problems for artists. Now, art wascentral to nation-building and there was the influence of 19th-century European academic painting. Milne was less an expectation thatart should reflect andexpress national themes. This interested indescribing external realities/details and more concerned with imperative wasespecially difficult for painters inthe middle of the 20th depicting the broader sensory experience of Ontario landscapes. Painters in century whowereexposed to international styles that explored increasingly Ontario slowly turned to more modern influences, suchas the post­ global, industrial, urban forms. impressionists who had worked in France at the end of the 19thcentury­ Soon, painters influenced bythe abstract art coming out of New York including Gauguin, van Gogh and Cezanne. They used bold colours, abstract werereacting against the Group of Seven. Kathleen Munn and Bertram shapes andfree brushwork, putting emphasis onthe texture ofthe canvas, Brooker wereamong the first to create and exhibit abstract works in the materials and the process of painting. Ontario. These paintings removed descriptive subject matterso that the The First World Warprompted many artists to breakwith older work itself became thesubject. The focus of abstract painting wasdirected traditions inorder to createdistance from the societies that brought about inward - to the subjective feelings and expressions of the artist and to a thewar, and to reflect a rapidly changing world. Itwas within this context preoccupation with the practice and the development ofart rather than that the Group of Seven emerged as leading figures in Canadian art.The external subjects. The people, places and objects that cluttered the cities m Group's portrayals ofnature as paired down, rugged, dynamic and romantic where abstract artists lived were gone from the canvas. They focused instead > provided a newself-image for Canadians. More conservative critics at the on formal issues of colour, spaceand tensions between chaosand control. time werenot impressed - famously calling their works "hot mush" In 1953, a group ofabstract expressionists held their first exhibition ­ because of the loosebrushstrokes, thick application of paint and bold Abstracts at Home - inthe furniture sectionof Simpson's department store colours. The Group, however, soon becamethe standard against which art in inToronto (nowThe Bay at Queen and Yonge streets), hoping that potential m Ontario was judged and Canada's first distinctively national school was patronswouldsee how modernand striking the works looked on living ^- uo H O TV < N 1-12

Jack Bush, Untitled, acrylic oncanvas, 261.6 x 198.1 cm. Government ofOntario Art Collection, 619775. room walls. The show was a success and the group soon expanded, becoming known as the Painters Eleven. They injected new energy and ideas into the Toronto art scene, finally establishing modernism as a force in the city. By the late 1960s and in the 1970s, artists found that the inward-looking, at-times-overbearing andaloof qualities ofabstract painting nolonger suited the politically charged, socially engaged, cultural atmosphere. Post-modern artists returned to themes of nationhood, identity and narrative. Their works included social commentary and often referenced artworks of past generations. Artists such as Joyce Wieland, Michael Snow and Greg Curnoe worked with a variety of materials, including paint, andoften incorporated materials, forms andcolours from popular culture into their works. Meanwhile, numerous First Nations artists were reinterpreting and recontextualizing traditional symbols, forms and motifs. Norval Morrisseau and Daphne Odjig, forexample - who are associatedwith the Woodlands school, a groupof predominantly Anishinaabeg artists - interpreted traditional imagery using vivid colour and, at times, western materials. Much oftheir works explore issues of First Nations identity. In recent decades, materials, subject matter andstyle have become increasingly varied. Fragmentation, disorientation and ambivalence have often been expressed, but paintings and drawings have justas often been playful and humorous. It's difficult to determine howfuture generations will characterize painting from recent decades; perhaps it will largely becharacterized by variety anddiversity. That is something we canall look forward to as we reflect on the history of painting inOntario.

Sam Wesley is the Ontario Heritage Trust's Site Coordinator for the Parliament interpretive centre in Toronto.

10 N 1-13

Off the wall By Bruce Beaton

From wall to wall and kiln to kiln, thousands of individual types, styles and techniques of artistic graffiti can be found at Evergreen Brick Works, dating back to the early 1980s. (Photo: Michelle Scrivener)

Storytelling takes inspiration from many sources. Traditionally, museums weave newuses, somearchived and stored. Others have been left in place, including a narrative from real objects: a vase, a coat, a building or a historical site. At the extensive artistic examples of graffiti visible throughout the site.A Evergreen Brickworks, an environmental community centreinthe heartof conservation easement protects this culturally significant graffiti as a layer of Toronto's Don Valley, some of the artistic and culturally significant graffiti helps the site'shistory. tell the stories ofthe site's cultural past. It's written onthe walls, ceilings and In the spring of 2013, Evergreen will launch Graffiti Works: 1989-2008. rooftops of thisformer brick-making factory. Created in cooperation with the University ofToronto, Master of Museum Founded in 1889,the Don Valley Brickworks produced more than Studies Program, thisexhibition will tell the history of the site's lost years, and 43 million bricks a year, helping to rebuild the skyline ofToronto afterThe Great will feature a self-guided exploratory walking tourofthe onsite graffiti, plus Fire of 1904. In the early 1980s, the existing kilns - built in 1957 - needed an offer video footage of local artists discussing the importance oftheseurban upgrade butthe natural resources necessary for brick production were all masterpieces. tapped out.The factory wasabandoned in 1984and sat vacant for almost The story of the Don Valley Brick Works is told mostnoticeably bygazing at 20 years, becoming a playground for urban explorers, partiers, ravers and Toronto's skyline; but a different story is toldin garish colours and images on photographers. The deserted buildings werealsoa blank canvas for local and the site's industrial walls. Now, a newchapteris unfolding at Evergreen Brick international graffiti artists wholeft thousands of individual types, styles and Works - one that explores urban sustainability and a greenerfuture, while techniques of graffiti on the crumbling walls for all to see and appreciate. recognizing our recent cultural past. Evergreen, a national charity that makes citiesmore livable, broke ground on revitalizing the Don Valley Brick Works site in 2008, transforming the Bruce Beaton isa Master of Museum Studies student at the University of 4.9-hectare (12-acre) industrial complex with its crumbling post-industrial Toronto. He andfellow student Shannon Todd areworking on theEvergreen buildings intoEvergreen Brick Works - a dynamic public spaceand showcase exhibit Graffiti Works: 1989-2008. for green design and urban sustainability. Protected bya conservation easement held bythe Ontario Heritage Trust, Graffitiversus Conservation: Typically, graffiti is unwelcome and discouraged onheritage buildings. It can negatively impact thesitecontained thousands of artifacts invarious states of preservation ­ > kilns, brick presses, pulleys, hoppers, storagebins and conveyors - as well as interpretation, accelerate deterioration, andencourage vandalism. Graffiti removal methods, too, can seriously damage finishes and workers' chalkboard timetables written in Italian and other mementos from our materials. In rare cases, where graffiti itselftakes on heritage value, it city-building past. > may bepreserved for artistic, cultural historical andinterpretive reasons. -a When Evergreen beganconstruction, a central tenet of the re-design plan On the highly textured bricks found at the Don Valley Brickworks, the ;H wasitsadaptive reuse - adapting oldstructures for new purposes. Today, the graffiti cannot be removed safely andenvironmentally without heritage buildings and artifacts have been largely preserved - some adapted for destroying the building fabric. m d on m Communities embracingN 1-14

our landscapes By Beth Anne Mendes

Tom Thomson, Canoe Lake, Mowat Lodge, 1914, oil on plywood, 21.4 x 26.7 cm.Collection of theTom Thomson ArtGallery, Owen Sound. Gift ofthe Ontario Heritage Trust and the Estate of Stewart and Letty Bennett, 1988.

Ontario hasbeen home to Canadian artists of all disciplines. Since the mid-19th Ashift in this approach to landscape occurred in1912when Tom Thomson century, painters particularly have worked to capture Ontario's unique sense (1877-1917) painted his first vivid scenes ofAlgonquin Park. Using bold outlines, ofplace. From Elizabeth Simcoe's 19th-century watercolours ofearly Upper strong colours andshort brush strokes similar to some post-Impressionist painters, Canada to Jack Chambers' paintings ofLondon andarea during the 1960s, Thomson recorded thedramatic park landscapes inhis own distinctive style. the Ontario landscape hasinspired many professional and amateur painters. His contemporaries - those who would later form the Group ofSeven - soon Fortunately, their prolific body ofwork has been, and continues to be, embraced followed him into thepark, the Georgian Bay and French River areas, andthe by enthusiastic and vibrant cultures ofsupport within ourcommunities. Algoma District. Often travelling by rail, these artists painted thewild, rugged and Simcoe (1762-1850) produced a series of sketches and watercolours that remote landscapes ofnorthern Ontario. The largely untouched boreal forests, rocky o provided first-hand accounts ofOntario's early landscape. While artists such as outcroppings and waterways ofthepre-Cambrian shield provided anabundance I— Paul Kane (1810-71) and Cornelius Kreighoff (1815-72) were not specifically ofsubject matter. And themarked differences provided by the changing seasons u landscape painters, their scenes ofcolonial outdoor life included scenery that encouraged theartists to return to paint the same locations repeatedly. Thomson < imparted information aboutthe environs and the weather. andtheGroup ofSeven had created a singular Canadian style with their unique The pastoral influence of British painters such as John Constable (1776­ renderings oftheOntario wilderness. 1837) informed thework of many Ontario painters around the turn ofthe 20th Acontemporary oftheGroup ofSeven, David Milne (1882-1953) painted century. Homer Watson (1855-1936) was strongly influenced by Constable, as some ofhis finest works in the Six Mile Lake region, just north orOrillia. As a on LU wereArthur Lismer's (1885-1969) earliestworks. Likewise, the North American young landscape painter, Doris McCarthy (1910-2010) travelled toAlgonquin Park, art market at this time washeavily influenced by that in Britain and Europe. Haliburton and Muskoka to paint therugged landscapes for which shewould Overseas art entered the Canadian market through Montreal and New York. become famous. Although McCarthy painted in the high Arctic andthroughout Apart from the grandeur of Niagara Falls, most Ontario landscape artists at Canada, shealso enjoyed painting in herown backyard at Fool's Paradise in this time preferred to represent scenes touched by the presence ofpeople that Scarborough. Ontario artists continue to paint landscapes thatareclose to home. captured the essence of the outdoorworld. Modern urban elements have found their way ontothecanvases ofmany painters, o u N 1-15

The Ontario Heritage Trust has unveiled plaques to 17painters since 1956.

The art-in-the-park influence has recently given rise to larger annual events such asToronto's Adolphus George Broomfield (1906-92), Inglewood Road, Caledon Mountains, Ontario, Luminato, Nuit Blancheand the OutdoorArt c. 1950, oil on panel. Collection ofthe Peel Art Gallery, Museum +Archives. Gift oftheArt Exhibition at Nathan Phillips Square. Gallery of Peel Association, 1999. Purchased, John &Darlene Broomfield; theArtist. (Photo: Ontario Travel) © John & Darlene Broomfield. asseen inJack Chambers' work (1931-78). Christine Pflig (1936-72) painted many Artist-in-residence programs arecommon in Ontario educational institutions ofher noted Toronto cityscapes looking out ofher kitchen window. and galleries, but are also offered by some conservation areas, provincial parks, Throughout the province, there arethriving galleries, organizations and events hospitals and health care centres. Local art-in-the-park events, popular during thatsupport Ontario artists andtheir work. In addition to larger institutional the 1970s, continue to thrive. Often combined with local markets, festivals, fairs collections - such as those held by universities andtheGovernment ofOntario ­ orfundraising events, these outdoor venues provide professional and amateur virtually every town and city in the province is home toa space where artis artists the opportunity to show andsell their work. For instance, the juried New exhibited for thepublic to enjoy. Places like Homer Watson House &Gallery in Art Festival in Ottawa isrun by artists for artists and is celebrating its 20th year in Kitchener, theTom Thomson Art Gallery in Owen Sound or Markham's Varley Art 2013. The art-in-the-park influence has also recently given rise tolarger annual Gallery were initially established to showcase an individual artist orcollection, but eventssuchas Toronto's Luminato, Nuit Blanche and the OutdoorArtExhibition have developed, over time, into spaces thatembrace andexhibit thework of at Nathan Phillips Square. In addition, local artists' studio tours give artlovers the others. Galleries such as theAbove Ground Art Gallery at theTimmins Museum, the chance tovisit theworking spaces ofareaartists andartisans. Station Gallery in Whitby orThe Art Gallery (TAG) Cornwall strongly support and The size and geography of Ontario - with its glacial features, abundance of prioritize thework oflocal artists. natural settings, changing seasons and energetic urban centres - have always Small communities often establish artgalleries and exhibits in thelocal library, appealed to the creative spirit in painters. As artists continue to settle, live and a heritage building, community centre ormunicipal office. In 2010, the Town of work in this culturally rich anddiverse province, our institutions, communities and Aurora opened its Cultural Centre in the restored Church Street School. Here, two art-loving public proudly encourage and embrace them. artgalleries share space with a museum and performance hall. In Brampton, the Peel Art Gallery Museum + Archives (http://pama.peelregion.ca) also incorporates historical buildings into itsoperating and exhibit spaces. In addition toexhibiting art, these facilities also reach outto their broader communities through public programming and special events for school groups, families and adults. Beth Anne Mendes is the Trust's Plaque Program Coordinator.

13 N 1-16 Collections for the people: The Government of Ontario Art Collection ^^

Life Regenerating, 1977, by Norval Morrisseau. Acrylic on canvas, 99.1 x 149.9 cm.Government of Ontario ArtCollection, Archives of Ontario, 623855.

Of outstanding national and provincial significance, the Government ofOntario Donations started in 1872, the OSA's founding year. Since then, hundreds ofthe Art Collection at the Archives ofOntario began in themid-19th century. It is group's works have become partofthe collection. These donations provide a comprised ofapproximately 2,600 works ofart,including paintings, murals, true snapshot ofthe province's culture, landscape and people. OSA works depict works onpaper, indoor and outdoor sculptures, textiles, antique furnishings and a breadth ofsubjects in a variety of traditional and contemporary media, by decorative objects, located in over 75government buildings across theprovince. both well-established andemerging artists from across Ontario. The collection's subject matter ranges from portraits of former premiers, Due to the size andscope of the Government ofOntario Art Collection, speakers andlieutenant governors, pen-and-ink drawings by C.W. Jefferys there are conservation challenges to bedealtwith on a regular basis. Condition commissioned by the Ministry ofEducation for textbooks, Aboriginal works oftheartworks can beaffected by building renovations andclosures. Arecent from the Woodlands School and Six Nations, Group ofSeven paintings by acquisition facing this type ofchallenge wasa collection ofover 50 pieces by J.E.H. MacDonald andArthur Lismer, to contemporary mixed media pieces by Moma Markovich that werecommissioned by the Ministry of Natural Resources members ofthe Ontario Society ofArtists, to name just a few. in the 1960s to illustrate Ontario's industrial andengineering feats throughout In 1856, the first collector - Egerton Ryerson - wasallocated S500to on the 20th century in logging, mining, firefighting andotherconservation LU purchase "artistic objects oftaste" for Toronto's Educational Museum. These authority program efforts. These artworks were held in temporary storage crates, cn days, mostworks enter the collection through donation or transfer. awaiting a reinstallation that could not be completed. In 2012, the works were Z) The Ontario Society ofArtists (OSA) donated generously in 2005, 2007 and transferred to theArchives of Ontario where they are undergoing conservation on 2012. The OSA hasa long-standing history with the provincial art collection. andreframing sothat they can once again beviewed by the public. < UJ en 14 N 1-17

The Pioneer, 1784,c. 1926, by Charles Space Composition Red, c. 1978, by Haydn Water Bombing, 1970,by Moma Markovich. William (C.W.) Jefferys. Watercolour on paper, Llewellyn Davies. Aluminum, 1097.3 x 609.6 Oil on canvas,90.8 x 65.4 cm. Government 71.4 x 51.4 cm. Government of Ontario Art x 548.6 cm. Government of Ontario Art of Ontario Art Collection, Archives of Ontario, Collection, Archivesof Ontario, 623327. Collection, Archives of Ontario, 623850. 636457.

When theArchives of Ontario moved to itsnewfacility onYork University's Keele campus in 2009, thecollection's storage conditions improved dramatically. Works in storage orawaiting conservation aresafe in a climate-controlled vault environment, built specifically for artstorage. State-of-the-art rolling racks for oversized pieces, storage shelves andflat storage cabinets The Ontario Heritage Trust's own art collection were all designed to meet theneeds ofthecollection. Temperature and humidity aremonitored speaks tothe spirit ofcollecting and the constantly to ensure a consistent environment, keeping theworks inan optimal state for long- inspiration of Ontario's artists andlandscapes. term preservation. For example, at Fulford Place in Brockville, the Not all works canbestored, however, in a climate-controlled vault in anticipation of second floor of the mansion - which housed conservation or repair. This means thatsome onsite, large-scale conservation projects must be the bedrooms for the family and their guests in undertaken. Indoor and outdoor murals andsculptures installed at government office buildings Edwardian times - also functioned as an art and courthouses generally require this type ofattention. In 2011, a major restoration project gallery. Varied insubject matter andmedia, the was undertaken to repaint oneofthe collection's outdoor public sculptures in Windsor. Space Fulfordart collection features more than 200 Composition Red by Haydn Llewellyn Davies (1921-2008) wasoriginally commissioned in 1978 pieces, hanging side byside with family toaugment thearea outside a government office building. Composed ofangled aluminum portraits, bronze sculptures, seascapes, religious andgenre paintings. beams, thesculpture began to rustand discolour over time. Because ofitsprominent downtown location, there wasincreased public demand for itsrevitalization. Ateam of professional art restorers stripped andcleaned the metal surfaces before repainting the work in the original red enamel paint - a finish often used onaircraft exteriors. This restoration project stands as an example of bestpractices for the conservation and long-time maintenance of public art in Ontario. Conserving anddocumenting existing artworks isa key partof the collection's mandate. Of equal importance isthe acquisition of newworks that promote andshowcase contemporary Ontario artists. Together, these efforts enhance the public environment in and around government buildings, and make art accessible to Ontarians now and for future generations.

Lani Wilson is the curatorof the GovernmentofOntarioArt Collection with the Archivesof Ontario. To learn moreabout the Government of Ontario ArtCollection, visit ontario.ca/archives.

15 N 1-18 WHAT'S ON

.1 Coiuise History of CANADIAN

A Concise History of Canadian Painting, 3rd edition PAINTING By Dennis Reid. Oxford University Press, 2012. For more than 30 years, Dennis Reid's AConcise History of Canadian Painting has been the definitive volume on the art of a nation. Reid traces the development of distinctive movements, techniques, and subjects that would come to define Canadian art inthe twentieth century. The highly anticipated third edition, fully revised throughout, brings the work up-to-date with a new chapter on mSu significant artistsand movements since 1980.

A Treasury of Tom Thomson ni.NNIS REID By Joan Murray. Douglas &Mclntyre, 2011. In the spring of 1918, Lawren Harris and J.E.H. MacDonald met inthe Studio Building inToronto. Their friend Tom Thomson had died the year before, and theywere determined to establish him as oneof Canada's great artists. Most of his paintings and sketches werestacked up in the studio; theyselected the best and made sure they got into Canada's most prestigious public and private collections. Art historian Joan Murray has constructed a beautiful, intimate treasury ofThomson's "best paintings," as chosen by artist friends and major collectors. ATreasury ofTom Thomson presents an insightful commentary on each chosen work.

Art Gallery of Ontario - www.ago.net - Founded in 1900 by a Ontario Arts Council (OAC) - www.arts.on.ca - TheOAC was group ofprivate citizens as theArt Museum ofToronto, theArt Gallery of established in 1963 to foster the creation and production ofart for the Ontario (AGO) isoneofthe largest art museums in North America. The benefit ofall Ontarians. The OAC offers more than 50funding programs AGO holds more than80,000 works ofart in itscollection, spanning from for artists andartsorganizations based in Ontario, with funds from the 100A.D. to the present. Ontario government.

The Association for Native Development in the Ontario Society of Artists - http://ontariosocietyofartists.org ­ Performing and Visual Arts (ANDPVA) - www.andpva.com ­ The Ontario Society ofArtists isa provincewide association for professional ANDPVA isCanada's oldest indigenous arts service organization, providing visual artists living and working in Ontario. It was founded in 1872, support to Canadian indigenous artists in Ontario and around the world. making itthe oldest existing professional art society in Canada. [Note: which First Nationsweb resource can be excluded here? Ourword­ count istoo greatand we needto cut it back) Tom Thomson Art Gallery - www.tomthomson.org ­ Established in 1967, the Gallery is named for the iconic Canadian McMichael Canadian Art Collection - www.mcmichael.com landscape artistTom Thomson and houses one of Canada's largest - The McMichael Canadian Art Collection isa major public art gallery collections of his work. It isa regional public gallery and national cultural devoted solely to collecting Canadian art. attraction with a top-notch and revolving program ofcontemporary and historical exhibitions, lectures, forums, films, concerts andworkshops. Native Art in Canada: An Ojibwa Elder's Art and Stories ­ www.native-art-in-canada.com/index.html - Canadian native art, especially contemporary Ojibwa art, issourced by a deep well of native legends and myths. Ithas become one of the lastconnections between the spiritual interpretation ofa declining Ojibwa culture and the modern world.

16 N 1-19 n the coming months

The Ontario Heritage Trust regularly hosts or attends events that impact our rich and unique heritage. From provincial plaque unveilings to conferences, we are busy year-round with activities that promote heritage conservation in Ontario. Here are some ofthe events and activities occurring over the next few months. Visit our website at www.heritagetrust.on.ca for more details. We're bringing our story to life for you!

February 17-23, 2013 - Heritage Week, various locations across Ontario. Communities across Ontario will celebrate Heritage Week with their own special events and activities - including exhibits, lectures, workshops and tours - showcasing the theme of Cultural expressions. Visit www.heritagetrust.on.ca for complete details on Heritage Week events.

February 18, 2013 - Stitching stories of the Underground Railroad - A Black History Month event. Uncle Tom's Cabin Historic Site, Dresden. Performing in period costume as a character born into slavery in 1852 Alabama, April Shipp shares her passion for quilting and explores its historical, spiritual and familial connections to Black history and the Underground Railroad.

March 13, 2013 - Screening of The Coffin Ship Hannah, Enoch Turner School House, Toronto. The Coffin Ship Hannah tells the extraordinary tale of horror and survival aboard the Hannah, which hit an ice reef in the strait near Cape Ray off the coast of Newfoundland in the spring of 1849, carrying 180 Irish emigrants fleeing the Irish Potato Famine. Kick off Heritage Week with uson Friday, February 15at Toronto's Elgin andWinter Garden Theatre Centre. The Trust March 23, 2013 - Shoe and Tell and Tea, Fulford Place, Brockville. Norma will also beorganizing events, tours andlectures for some of Shephard of the Mobile Millinery Museum & Costume Archive will present a itsown museum sites- including the Parliament interpretive retrospective that takes you through a century and a half of iconic women's centre, Fulford Place and Uncle Tom's Cabin Historic Site. Visit footwear, exposing the factors that influenced shoe design. ourwebsite for more information. (Photo: Peter Lusztyk) April 27-28, 2013 - Bicentennial of the Attack on York and the unveiling of artifacts belonging to Major General Sir Roger Hale Sheaffe, Parliament interpretive centre, Toronto. Join us at the site where the province's parliament buildings once stood and participate in informative and engaging activities to commemorate the bicentennial of the Attack on York, a traumatic event that had an impact on Toronto's and Ontario's history. Our commemorative program will include the unveiling of artifacts belonging to For more information onupcoming Sir Roger Hale Sheaffe, who served as commander of military forces in Upper WOth anniversary events at theElgin Theatre, Canada from October 1812 to April 1813. His importance rests in both his visit www.heritagetrust.on.ca/ewg WO. military accomplishments and his achievements as president and civil administer of Upper Canada. It is therefore fitting that his artifacts be exhibited at the Parliament interpretive centre, on the site of some of his greatest achievements.

April 27, 2013 - Launch of Doors Open Ontario 2013, Guelph and Prince Edward County. From April to October each year, communities across the province open their commercial buildings, places of worship, gardens and other heritage sites to the public free of charge. Visit www.doorsopenontario. on.ca for details of upcoming events in your area.

May 4, 2013 - Antiques appraisal, Fulford Place, Brockville. Hear renowned appraiser Janet Carlile appraise 25 treasures - including your own.

May 26-27, 2013 - Portes ouvertes Toronto au Centre des salles de theatre Elgin et Winter Garden, Toronto. Come celebrate the Elgin's anniversary during Doors Open Toronto and experience the grandeur of the world's last operating double-decker theatre. Guided tours available.

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