Defiant Spirits (60 page)

41. Quoted in McKay,
A National Soul,
p. 83.

42. Quoted in ibid., p. 91.

43. Quoted in ibid., pp. 91–92.

CHAPTER 7: WEMBLEY

1.
Toronto Globe,
28 March 1924;
Canadian Bookman,
May 1924.

2. Quoted in Robert W. Rydell,
World of Fairs: The Century-of-Progress Exhibitions
(Chicago: University of Chicago Press, 1993), p. 65. The most comprehensive study of the exhibition is found in Donald R. Knight and Alan D. Sabey,
The Lion Roars at Wembley: British Empire Exhibition
(London: Barnard & Westwood, 1984).

3. Quoted in R.M. Dawson, ed.
The Development of Dominion Status, 1900–1936
(London: Oxford University Press, 1937), p. 239.

4.
Daily Graphic,
29 March 1924.

5. Quoted in Anne Clendinning, “Exhibiting a Nation,” pp. 96–97.

6. Quoted in ibid., p. 95. For Canada's contribution, see William Beinart and Lotte Hughes,
Environment and Empire
(Oxford: Oxford University Press, 2007), p. 226; Andrew Stuart Thompson,
The Empire Strikes Back? The Impact of Imperialism on Britain from the Mid-Nineteenth Century
(Harlow, Essex: Pearson Education, 2005), p. 86; John Allwood,
The Great Exhibitions
(London: Studio Vista, 1977), pp. 128–29; and especially Clendinning, “Exhibiting a Nation,” pp. 79–107, to which I am indebted for information on the Canadian display. The butter sculpture was carved by George D. Kent and Beauchamp Hawkins (
Illustrated London News,
24 May 1924).

7. Quoted in S.R. Parsons, “The British Empire Exhibition: A Study in Geography, Resources, and Citizenship of the British Empire,”
The Empire Club of Canada Speeches, 1924
(Toronto: Empire Club of Canada, 1924), p. 293.

8. On the latter, see Pauline Wakeham,
Taxidermic Signs: Reconstructing Aboriginality
(Minneapolis: University of Minnesota Press, 2008), pp. 46–47.

9.
Montreal Gazette,
28 May 1925 (reporting on responses in the French-language newspaper
Le Canada
);
Montreal Herald,
15 July 1925.

10. See Clendinning, “Exhibiting a Nation,” pp. 92–93, 105.

11. Quoted in Tom August, “Art and Empire—Wembley, 1924,”
History Today
43 (October 1993), p. 44.

12.
Press Comments on the Canadian Section of Fine Arts, British Empire Exhibition
(London, 1924–25), unpaginated.

13.
A Portfolio of Pictures from the Canadian Section of Fine Arts, British Empire Exhibition
(Toronto: Rous and Mann, 1924), unpaginated.

14. Quoted in Christine Boyanoski, “Selective Memory: The British Empire Exhibition and National Histories of Art,” in Annie E. Coombes, ed.,
Rethinking Settler Colonialism: History and Memory in Australia, Canada, Aotearoa New Zealand and South Africa
(Manchester: Manchester University Press, 2006), p. 167. The
Saturday Night
article is
from 1933.

15.
Morning Post,
28 May 1924.

16. Quoted in Ruth A. Drayer,
Nicholas and Helena Roerich: The Spiritual Journey of Two Great Artists and Peacemakers
(Wheaton,
IL
: Quest Books, 2005), p. 49.

17.
The Times,
6 May 1924.

18. C. Lewis Hind,
The Post-Impressionists
(London: Methuen, 1911), pp. 2, 18.
His remarks about his unique tolerance of Matisse are found on p. 12.

19.
Daily Chronicle,
30 April 1924.

20.
Saturday Night,
17 May and 13 December 1924.

21.
The Times,
28 May 1924.

22.
Saturday Night,
13 December 1924.

23. This point is made in Hill,
The Group of Seven,
p. 145. For information on the purchase price I am grateful to Lisa Cole, Assistant Curator, Gallery Records,
at the Tate.

24.
Canadian Bookman,
November 1924.

25. Edgar Z. Friedenberg, “Culture in Canadian Context,” in Michael Rosenberg,
William B. Shaffir, Allan Turowetz, and Morton Weinfeld, eds.,
Introduction to Sociology
(Agincourt,
ON
: Methuen, 1983), p. 123.

26.
The Lamps,
December 1911.

27.
Glasgow Herald,
26 December 1924.

EPILOGUE: THE END OF THE TRAIL

1. Quoted in Tippett,
Stormy Weather,
p. 150.

2. Jackson,
A Painter's Country,
p. 135.

3. Blodwen Davies in
American Magazine of Art
(July 1932).

4.
Hundreds and Thousands: The Journals of Emily Carr,
introduction by Gerta Moray (Vancouver: Douglas & McIntyre, 2006), pp. 25–26.

5. Jackson,
A Painter's Country,
pp. 139–40. For an account of the International Exhibition of Modern Art, see Roald Nasgaard,
Abstract Painting in Canada
(Vancouver:
Douglas & McIntyre, 2007), p. 27.

6. Cole and Tippett,
Phillips in Print,
p. 86.

7. Varley, quoted in Tippett,
Stormy Weather,
p. 150; and Jock Macdonald, quoted in
Nasgaard,
Abstract Painting in Canada,
p. 38.

8.
Toronto Telegram,
18 February 1928.

9.
Vancouver Sun,
20 December 1932.

10. Quoted in Hill,
The Group of Seven,
p. 264.

11. Quoted in David P. Silcox, “Tom Thomson's Art,” in Town and Silcox,
Tom Thomson,
p. 102.

12. Reid,
A Concise History of Canadian Painting,
pp. 211–12.

13. Frye,
The Bush Garden,
p. 220.

14. Quoted in Peter Larisey,
Light for a Cold Land: Lawren Harris's Work and Life
(Toronto: Dundurn Press, 1993), p. 50.

15.
artscanada,
August 1970; Jackson, “Introduction,”
A Painter's Country,
unpaginated.

16. “Introduction,”
The Group of Seven
(Ottawa: National Gallery of Canada, 1970), p. 10.

17.
The New Outlook,
27 August 1930. The writer was Blodwen Davies.

18.
New Liberty,
November 1949. MacLennan's other choices were Joseph Howe, Mackenzie King, Donald McKay, Sir William Osler, Sir Wilfrid Laurier and Sir Frederick Banting.

19. Quoted in Stephen Azzi,
Walter Gordon and the Rise of Canadian Nationalism
(Montreal and Kingston: McGill-Queen's University Press, 1999), p. 188.

20. For a summary of this argument, see A.D. Smith,
Chosen Peoples,
pp. 1–2. Smith argues, to the contrary, that it is equally possible that nations, “far from ceasing to possess meaning and relevance in a global epoch, take on new meanings and a different, but equally powerful, relevance” (ibid., p. 2).

21. Brian S. Osborne, “From Native Pines to Diasporic Geese: Placing Culture, Setting Our Sites, Locating Identity in a Transnational Canada,”
Canadian Journal of Communication
31 (2006), pp. 147–75.

22. Erin Manning,
Ephemeral Territories: Representing Nation, Home, and Identity in Canada
(Minneapolis: University of Minnesota Press, 2003), pp. xx–xxi.

23. Quoted in Fetherling,
Documents in Canadian Art,
p. 109.

24. Jackson,
A Painter's Country,
p. 128.

25. Peter Haggett, ed.
Encyclopedia of World Geography: Canada, the Arctic
(Abindon, Oxon: Andromeda, 2002), p. 392. For urban vs. rural statistics in 1901 and 2001, see
http://atlas.nrcan.gc.ca/site/english/aboutus/100anniversary/carto_exhibit/pop_1901_1911.html
.

26. R. Cook,
Watching Quebec,
pp. 98–99.

27. Harold Troper, quoted in Magocsi,
Encyclopedia of Canada's Peoples,
p. vii.

28. Mastin,
The Group of Seven in Western Canada,
p. 28.

29. The first and most emphatic of these condemnations is found in Bordo, “Jack Pine,”
pp. 98–128.

30. For a discussion of Morris's career as a portraitist among the Aboriginal people,
see Daniel Francis,
The Imaginary Indian: The Image of the Indian in Canadian Culture
(Vancouver: Arsenal Pulp Press, 1992), pp. 26–30.

31.
The Times,
27 September 2008;
The Daily Telegraph,
6 July 2008.

32. Quoted in Hill,
The Group of Seven,
p. 215.

33. “Society and Art,” in
Art
(New York: Capricorn Books, 1958), p. 172.

34. Sandra Djwa, “‘Who Is This Man Smith?': Second and Third Thoughts on Canadian Modernism,” in W.H. New, ed.,
Inside the Poem: Essays and Poems in Honour of Donald Stephens
(Toronto: Oxford University Press, 1992), p. 208. Smith's poem, first published in
The McGill Fortnightly Review
on 9 January 1926, was originally subtitled “The Group of Seven.” It was published in a revised form in
Canadian Forum
in July 1927.

35.
Canadian Forum,
December 1928.

36. Larisey,
Light for a Cold Land,
p. 151.

37. Kevin Bazzana,
Wondrous Strange: The Life and Art of Glenn Gould
(Oxford:
Oxford University Press, 2004), p. 327.

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