'TWAS IN THE MOON OF WINTERTIME: THE ARTS IN NEW FRANCE

'TWAS IN THE MOON OF WINTERTIME: THE ARTS IN NEW FRANCE

‘Tis the season to be jolly, once again. In proper yuletide spirit the gallery has been playing Christmas music this December. I personally enjoy many festive holiday songs and hymns, but tend to gravitate towards traditional ones such as Personent Hodie or O Come, O Come Emmanuel. One of my long-standing favourites in this category is The Huron Carol (also known as ‘Twas in the Moon of Wintertime}.

The Huron Carol is Canadian, and is widely assumed to be the country’s first Christmas carol. The anglicized version of the Huron Carol as we know it today was written in 1926 by Jesse Edgar Middleton. However, the carol is very old; as old as some of the earliest colonization. It was written circa 1640, and was composed by Father Jean de Brebeuf (1593-1649) to the tune of a traditional French folk song called Une Jeune Pucelle.

Father Jean de Brebeuf was a French Jesuit missionary originally from Normandy. His first colonial tour posted amongst the Huron people was between 1625-1629. After a few years back in France he returned as a missionary to the Ste-Marie-Amongst-the Hurons settlement from 1639-1649 (near present day Midland, Ontario). de Brebeuf was well acknowledged for his tenacity at acquiring fluency in the Iroquoian-language of the Huron and his ability to immerse himself in their culture. de Brebeuf’s command of the Huron language was beneficial for the missionaries cause, as they aimed to use familiarity to better connect with those whom they were preaching to. This reminds me of how Italian painters of the middle ages and renaissance would depict the nativity (or any religious scene) in contemporary Italian settings. Certainly the Christ child was not born amongst 15th century Florentines, yet the message seemed clear nonetheless. It is within this context that the Huron Carol was composed.

Original Lyrics

Ehstehn yayau deh tsaun we yisus ahattonnia O na wateh wado:kwi nonnwa 'ndasqua entai ehnau sherskwa trivota nonnwa 'ndi yaun rashata Iesus Ahattonnia, Ahattonnia, Iesus Ahattonnia

Ayoki onki hm-ashe eran yayeh raunnaun yauntaun kanntatya hm-deh 'ndyaun sehnsatoa ronnyaun Waria hnawakweh tond Yosehf sataunn haronnyaun Iesus Ahattonnia, Ahattonnia, Iesus Ahattonnia

Asheh kaunnta horraskwa deh ha tirri gwames Tishyaun ayau ha'ndeh ta aun hwa ashya a ha trreh aundata:kwa Tishyaun yayaun yaun n-dehta Iesus Ahattonnia, Ahattonnia, Iesus Ahattonnia

Dau yishyeh sta atyaun errdautau 'ndi Yisus avwa tateh dn-deh Tishyaun stanshi teya wennyau aha yaunna torrehntehn yataun katsyaun skehnn Iesus Ahattonnia, Ahattonnia, Iesus Ahattonnia

Eyeh kwata tehnaunnte aheh kwashyehn ayehn kiyeh kwanaun aukwayaun dehtsaun we 'ndeh adeh tarrya diskwann aunkwe yishyehr eya ke naun sta Iesus Ahattonnia, Ahattonnia, Iesus Ahattonnia

English translation of original:

Have courage, you who are human beings: Jesus, he is born The okie spirit who enslaved us has fled Don't listen to him for he corrupts the spirits of our thoughts Jesus, he is born

The okie spirits who live in the sky are coming with a message They're coming to say, "Rejoice! Mary has given birth. Rejoice!" Jesus, he is born

Three men of great authority have left for the place of his birth Tiscient, the star appearing over the horizon leads them there That star will walk first on the bath to guide them Jesus, he is born

The star stopped not far from where Jesus was born Having found the place it said, "Come this way" Jesus, he is born

As they entered and saw Jesus they praised his name They oiled his scalp many times, anointing his head with the oil of the sunflower Jesus, he is born

They say, "Let us place his name in a position of honour Let us act reverently towards him for he comes to show us mercy It is the will of the spirits that you love us, Jesus, and we wish that we may be adopted into your family Jesus, he is born

Although de Brebeuf is remembered as the author of The Huron Carol, Iesus Ahatonnia, he is even more renowned for his martyrdom. The Iroquois Confederacy vanquished the Ste-Marie settlement in 1649, and de Brebeuf and other Jesuit missionaries were ritually subjected to torture and killed. Despite the horrific martyrdoms at Ste-Marie-amongst-the-Hurons French clergymen fervently continued to set up missionaries in New France in the 17th century. The arts: music, literature, and fine art, remained an important tool in the preaching agendas of missionaries. Thus like the Huron Carol, Canada’s very earliest fine art was produced almost exclusively by French clerical missionaries.

It is not until centuries after the Jesuits arrived in New France that we begin to see certain artists and their artwork as possessing a true Canadienness. This occurs with the artists Paul Kane and Cornelius Krieghoff at around the time of Confederation in the mid 19th century. Yet when I reminisced about the history of the Huron Carol this December, I decided it might be a good excuse to peruse some of the country’s very earliest fine art from that same period in our history.

Most of the surviving works of art from 17th century New France date to a few decades after the Huron Carol was composed. It has been cited that one Abbe Pommier was likely to have been the very first to officially paint on French colonial soil. Hilariously, he is often quite bluntly described as having been a terrible painter. Unfortunately I was not able to find any firmly attributed examples of his work to confirm his abilities. A portrait, La Mere Marie-Catherine de Saint-Augustin, is attributed to Pommier from 1668 with later over painting. Three more of the earliest known French clerics who painted in the colonies were Fathers Jean Pierron (1631-1700), Louis Nicolas (1634- c. 1701) and Claude Chauchetiere (1645-1709). There is scant tangible work remaining by these clerical painters but one well-known work by Chauchetiere is the Portrait of Saint Kateri Tekakwitha from circa 1696. It has a naïve quality not unlike contemporaneous French provincial paintings, as do most of the surviving works from that time. One of the few non-religious examples to survive by one of these clerics is the Codex Canadensis written and illustrated by Father Louis Nicolas between 1674-1680. It contains watercolours of his interpretation of the land and its people. The book is at the Thomas Gilcrease Museum in Tulsa, Oklahoma, and their online collection records provide a glimpse of the book with a page depicting natives fishing in a river, called La Pesche des Sauvages.

Perhaps the most prominent and capable painter of this period who travelled to New France was Frere Luc, born Claude Francois. He was already a painter of some talent prior to entering the clergy in 1644 back in France. He had worked in studios alongside some of the great French classicists of the period, including Nicolas Poussin and Claude Lorrain. He learned by copying works of art by Italian masters of the previous generations, such as the High Renaissance artist Raphael and Baroque artist Guido Reni. Frere Luc came to New France in 1670 to assist in re-establishing an abandoned monastery belonging to the Recollet Order. Despite only being in New France for 15 months, he left a far larger oeuvre and lasting impression than any other clerical artists. A Recollet cleric, Father LeClercq, notes decades later in a correspondence from 1691 that:

This good religious {Frere Luc} laboured for fifteen months on many works, which he has left as so many marks of his zeal: the painting over the high altar of our Church and that of the chapel; he enriched the parish Church {Notre-Dame-de-Quebec} with a large painting of the Holy Family, that of the Reverend Jesuit Fathers with an Assumption of the Blessed Virgin; and he completed that of the high altar representing the Adoration of the Wise Men. The churches at Ange Gardien, Chateau-Richer, the Cote de Beaupre, at Sainte-Famille on the Ile d’Orleans and of the Hospital {Hotel-Dieu, Quebec} Were also indebted to his work…..

Unfortunately most of the above-described paintings are probably lost for good, but some of Frere Luc’s work endures. The most famous of these works is a Baroque style Assumption of the Virgin in the Hopital-General de Quebec. Another surviving painting by Frere Luc is convenient for this blog topic; being that it includes both Huron and somewhat Christmas-related themes. It is La Sainte Famille a la Huronne, and depicts the Holy Family with St. Joseph presenting a small Huron girl to the Virgin and infant Jesus. The little Huron girl is wearing a medal of a type given to converts by missionaries at the time. Even more convenient to this blog topic is that Frere Luc painted an Adoration of the Magi scene while in New France (as mentioned by LeClercq. The Adoration theme is integral in the original lyrics of The Huron Carol. The New France Adoration is probably lost, so instead I have provided visual references of the Adoration of the Magi by Frere Luc’s French colleague Nicolas Poussin, and another by the Italian Baroque master Guido Reni whom he often copied.

Perhaps the most recognized 17th century painting from New France is La France Apportant la foi aux Hurons de la Nouvelle-France. This oil on canvas is currently housed in the Musee des Ursulines, Quebec. The painter is unknown, but is often attributed to Frere Luc and dated circa 1670. The painting is set alongside the shores of the St. Lawrence River and depicts France symbolically personified in the form of Anne of Austria (mother and regent on then young King Louis XIV) teaching a kneeling Huron man about Christianity and faith through the use of a painting of the Virgin Enthroned and by pointing to the heavens above. In the background on the river is a ship that prominently displays the coat-of-arms of a Breton nobleman. This painting perfectly sums up the primary intentions and prevailing attitudes of clerical occupation in New France during the 17th century. The importance of immersing the native people of North America in the Christian faith was paramount. This is overtly evident both in La France Apportant la foi aux Hurons de la Nouvelle-France, as well as in the original lyrics of The Huron Carol.

Happy Holidays from Masters Gallery.

BY: JILL TURNER

PHOTO CREDITS:

1., 2. and 3. Images of Huron Carol themed Christmas stamps issued Christmas 1977 by Canada Post

4. Gentile de Fabriano. Adoration of the Magi. Italian, circa 1423 in the Uffizi Gallery, Florence

5. Detail of a Cornelius Krieghoff Habitants oil on panel Sold at Masters Gallery Vancouver, 2013.

6. Attributed to Abbe H. Pommier. La Mere Marie-Catherine de Saint-Augustin. (1668) in the Monastere des Augustines de l'Hotel-Dieu du Quebec

7. Claude Chaucheterie. Portrait of Saint Kateri Tekakwitha circa in the Caughnawaga Museum

8. Louis Nicolas. La Pesche des Sauvages in the Codex Canadensis. 1674-1680 in the Thomas Gilcreast Museum

9. Frere Luc. Assumption of the Virgin circa 1670 in the Hopital-General de Quebec Eglise Notre Dame des Anges

10. Frere Luc. La Sainte Famille a la Huronne circa 1670 at the Monastere des Ursulines, Quebec City

11. Nicolas Poussin. Adoration of the Magi 1633 in the Gemäldegalerie, Dresden, Germany

12. Guido Reni. Adoration of the Shepherds circa 1640 in the National Gallery, London, UK

13. La France Apportant la Foi aux Hurons de la Nouvelle-France circa 1670 (attributed to Frere Luc often) in the Musee des Ursulines, Quebec

THEN AND NOW THROUGH THE LENS: THE EVOLUTION OF A CITY

THEN AND NOW THROUGH THE LENS: THE EVOLUTION OF A CITY

Vancouver is young in comparison to most cities in the world. Not having been incorporated until 1886, many of the worlds’ great cities had voluminous histories by that time. Yet since settlement began in the northwest, urbanization has been quite rapid. As a persistent top-three winner in numerous worldwide reports on the most livable cities, one can see why Vancouver’s population has been climbing steeply. Vancouver’s outward expansion and inner density have snowballed over the past century in so that the façade of the city has been changing non-stop. The continual evolution of the city often makes earlier images of it unrecognizable. In addition to meeting the demands of higher density living, difficulties preserving and cherishing the city’s limited heritage infrastructure are a few amongst many contributing reasons for frequent changes to Vancouver’s appearance. Oftentimes it is only the permanence of the North Shore Mountains towering watch over the city, a specific coastline, or domineering ancient tree that visually links an old and new image of the cityscape.

I thought a light-hearted blog comparing views of some of the historical photographs from our exhibition Bygone BC with some of my own contemporary snapshots of the same place might make for a trivial but thought-provoking contrast and comparison. I would argue that with the exception of the domineering geography of the city there will be more contrasts than comparisons. This is particularly curious considering I have often found myself in research being able to match the urban imagery in paintings 100 years or older with the near identical contemporary view of the same city, particularly in Europe. Two good examples are Canadian painter James Morrice’s View of Paris from the Left Bank (circa 1905) and his View of Antwerp (1906).

In both these examples, if the buildings were different there would not be any other marker to indicate location. In Vancouver an old and new photograph might yield a drastically different city skyline or set of buildings, but the location might still be recognizable by the very distinct topography of the city (one can recognize a mountain peak, a specific peninsula or coastline shape). Such is the case with a watercolour painted at Stanley Park looking out to Point Atkinson on the North Shore in 1889 by Frederic Marlett Bell-Smith. I went to Stanley Park and found the exact same viewpoint, and found it satisfying. This is what gave me the idea to select historical photographs from Bygone BC and present the contemporary equivalents.

Moving eastwards by barely a kilometre from where Bell-Smith painted in Stanley Park, photographer Frank Gowen took this photograph of English Bay circa 1917-18. The shoreline of English Bay is discernable but the entire infrastructure is different. The pier has vanished, as has an entire side of Beach Avenue that was once occupied with residences and small business. This is completely gone, and is replaced by the biking and walking seawall path and park. The only things in the photo still present are the Sylvia Hotel and the Alexandra Park bandstand (roof visible lower right)

Moving further east and north into the downtown core takes us to our next photography location. Now the iconic Hotel Vancouver, in the late 19th and early 20th century this would have been one of the highest points at which to photograph a panorama of the city. It was a popular location for photographers such as Richard Henry Trueman, William Notman and the Bailey Brothers and many more. All these photographers made several versions of views from the CPR Hotels. I of course cannot get onto the roof of the current Hotel Vancouver, but I took a picture from the nearby car park roof to note how time has passed and the once tall hotel is dwarfed amongst high rises. Perhaps even if I had reached the windows on the upper floor I might not get the panoramic view I was looking for. Instead I might have shot a reflection of myself in the windows of the next-door skyscraper.

Perhaps the most striking contrast of ‘then and now’ that I could procure is two photographs of Thurlow Street. The earlier photograph was taken by the Bailey Bros. in 1882, and depicts oxen hauling logs within a surprisingly dense forest (not far from where the Marine Building was to be erected). The second photograph is my contemporary snapshot at the corner of Thurlow and West Hastings with the now old Marine Building in the background. In just one hundred years this location has gone from forested with tall cedars and Douglas firs to forested with skyscrapers.

I will finish my then and now tour of Vancouver through historical and contemporary photographs by returning full circle to Stanley Park. This comparison is taken at Brockton Point looking back onto Coal Harbour and the city behind. The early photograph was taken by Frank Gowen in 1917-1918 and was included as part of a photograph album of thirty views of the city. The second is of course my own contemporary shot, taken circa 4:30 pm on December 5th, 2013. I particularly enjoy the old and new marine gas station in the harbour.

I hope this lighthearted blog has been of interest to Vancouverites and non-Vancouverites as well. Please enjoy the urban scenes in this December’s exhibition Bygone BC: Historical Photographs of Urbanization in British Columbia.

BY: JILL TURNER

PHOTO CREDITS:

1. and 3. James Morrice View of Paris and View of Antwerp (Previously sold at Masters Gallery Ltd.)

2. amd 4. Screen shots of the Left Bank of the River Seine in Paris and Antwerp looking across to the Cathedral of Our Lady

5. Frederic Marlett Bell-Smith Stanley Park looking across to Point Atkinson and Bowen Island Beyond watercolour, 1889 (Masters Gallery Ltd. Vancouver)

6. Snapshot from Stanley Park Looking across to Point Atkinson and Bowen Island Beyond, taken by Jill Turner December 2013

7. Frank Gowen, English Bay circa 1917-1918, photograph in Bygone BC as part of an album of 30 views of Vancouver and the Rocky Mountains

8. and 9. Snapshot of English Bay with the Alexandra Park Bandstand and English Bay Beach, taken by Jill Turner December 2013

10. Anonymous, View of Vancouver Looking North silver gelatin print, circa 1898, photograph in Bygone BC

11. and 12. Snapshots of the Hotel Vancouver Roof blocked off and View of the top of the Hotel Vancouver and other downtown buildings surrounding it, taken by Jill Turner December 2013

13. After Bailey Brothers. Oxen Hauling Logs, Thurlow Street, 1882 vintage copy print on board of the original photograph, photograph in Bygone BC

14. Snapshot of Thurlow St. and W. Hastings with the Marine Building in the background, taken by Jill Turner December 2013

15. Frank Gowen The Waterfront, Vancouver circa 1917-1918, photograph in Bygone BC as part of an album of 30 views of Vancouver and the Rocky Mountains

16. Snapshot of the waterfront at Coal Harbour from Brockton Point, Stanley Park, taken by Jill Turner December 2013

TRAVEL AND TOURISM POSTERS: A BRIEF HISTORY AND CANADA'S CONTRIBUTION

TRAVEL AND TOURISM POSTERS: A BRIEF HISTORY AND CANADA'S CONTRIBUTION

During the final quarter of the 19th century posters were made for advertising and propaganda with increased frequency in Great Britain, on Continental Europe and in North America. The Worlds great transportation companies were forefront in utilizing new developments in lithography and serigraphy that improved printing in the 1880s and 1890s. The Canadian Pacific Railway was among those companies taking advantage of the improved printed poster both for regional, national and international advertising. As poster production expanded on the eve of the 20th century, there was also an invested interest in the quality and style of poster design. For example, Belle Epoque Parisian poster designs by Henri de Toulouse-Lautrec (1864-1901) and Britain's Beggerstaff Brothers (active 1894-1899) observed close ties to contemporaneous fine and decorative art movements of the time such as art nouveau, the arts and crafts movement, and symbolism.

Poster design became a worthy fine art form. In the 20th century it would not only present itself as a form of fine art, but was to be a leading medium within which modernism would take flight in the arts.

The desired effectiveness of advertising campaigns lent well to simple, bold and linear combinations of text and image. This enticed designers to draw heavily from avant-garde art movements at the time that held similar stylistic principles such as cubism and constructivism. Pictorially and textually minimalistic designs of bold and linear compositions were first employed by the precocious German designer Lucian Bernhard (1883-1972). He is known best for his winning contest design for Priestler cigars in 1906, which comprised solely of black space, the company name and two stylized matchsticks. Bernhard and half a dozen other innovative German designers were given exclusive contracts with the forward thinking Berlin Lithography firm Hollenbaum and Schmidt. This school of design born out of Germany became known as Plakastil, translated simply as Poster Style.

Poster production reached a zenith of importance by the First World War. During the war governments had employed poster advertising to attract assistance and for propaganda. After the war poster production remained steady. Industrialism, technology and machinery were at this time embraced during the years following the First World War, which manifested in poster design through a continued influence of stream-lined prevailing artistic movements such as cubism, the Bauhaus School, and Art Deco. According to Phillip Meggs, author of A History of Graphic Design, the term Art Deco “is used to identify popular geometric works of the 1920s and 1930s. It signifies a major aesthetic sensibility in graphics, architecture, and product design during the decades between the two world wars.” One leading designer who embraced Art Deco aesthetics in his poster designs was Russian emigrant to Paris, A.M. Cassandre (1901-1968) He employed boldly simplified iconographic images that were often distorted in scale in order to send an effective message about what was being portrayed. This is exactly the case with Cassandre’s well-known L’Atlantique, 1931.

Poster design first caught my attention and subsequent admiration at university when I was taking a History of Graphic Design course. When I opened the textbook and saw an image of Cassandre’s Atlantique, 1931 it left an impression on me. I was already a lover of Art Deco by then. Cassandre’s early image of a oceanliner was to be an innovative model for travel posters featuring ships for decades to come. His influence can be seen in the still fresh looking designs made for the Canadian Pacific into the mid and second half of the 20th century.

Another means through which my increasing affection for poster design as a fine art form arose came via vintage ski posters. For a long time I have reveled in the notion of collecting good early ski posters, as much so as I desire to ski at some of the great old European resorts that the posters advertised.

Both Cassandre’s ship and the ski posters are of the travel and tourism genre, which is an area in the history of poster design within which Canada has produced a prominent contribution. The catalyst in this was the Canadian Pacific Railway (CPR), and in particular the company's Exhibits Branch of the Immigration and Colonization Department. The height in poster popularity coincided with what was often referred to as the Golden Age of the CPR from the turn of the century through World War One. Utilizing posters in extensive advertising campaigns intended to attract visitors and new settlers to Canada, the CPR was instrumental in shaping International perceptions of the country. Advertisements were aimed at portraying the country’s scenery, fertile land, and varying geography in a good light. Often pleasurable activities such as hiking, hunting, fishing, swimming or skiing were featured.

Poster production increased again during the post-war years, and the CPR and its newer competitor the Canadian National Railway (CNR) both created numerous travel and tourism posters with exceptional designs at that time. Peter Ewart (1918-2001) was one Canadian artist whose art deco inspired designs were used for almost 25 CPR posters over many decades. His first was a ski poster from 1940 “Sports D’Hiver.” Masters Gallery sold another of his ski posters earlier in 2013, and has the pleasure of offering a selection of vintage Canadian travel and tourism posters both in our Calgary and Vancouver galleries this fall, including one of Peter Ewart’s most praised railway posters.

Acquiring vintage posters is an excellent way of delving into art collecting. Original examples of vintage posters are sometimes rare and hard to find, but they are not unobtainable and can be financially reasonable in comparison to collecting in other branches of the fine arts.

For further reading on Canada’s contribution to the history of poster design I recommend Posters of the Canadian Pacific by Marc H. Choko and David L. Jones (Firefly Books, 2004)

and for an excellent overview of the history of poster design see

The History of Poster Design by Max Gallo (Norton & Co. New York, 2000)

and

Meggs’ History of Graphic Design by Phillip Meggs (J. Wiley & Sons, 2006 Fourth Edition)

BY JILL TURNER

Photo Credits:

1. Canadian Pacific Railway Poster, anonymously designed, 1887

2. Henri de Toulouse-Lautrec. La Vache Enragee, 1896

3. The Beggarstaff Brothers. Lyceum Don Quixote, 1895

4. Lucian Bernhard. Priestler Cigars, 1906

5. Julius Klinger. Kriegsanleihe, Vienna, 1918. (Poster promoting German war bonds with symbolic defeat of the Allies)

6. A.M. Cassandre. L'Atlantique, 1931.

7. Tomagno. Chamonix-Mont Blanc Sports D'Hiver Train Express, circa 1905

8. Cortina D'Ampezzo, designer unknown, circa 1920

9. Pierre Kramer, Zermatt/ Matterhorn, 1931

10. Emil Cardinaux, St. Moritz circa 1920

11. Roger Broders. Sports D'Hiver a St. Pierre de Chartreuse, 1930

12. Canadian Pacific Railway, Empress of Britain, anonymously designed, lithograph, circa 1930

13. Alfred C. Leighton for CPR,Chateau Lake Louise, silkscreen, 1938

14. Peter Ewart for CPR, Sports d"Hiver, silkscreen, 1940.

15. Peter Ewart for CPR. Ski Canada silkscreen, circa 1941 (sold in 2013 at Masters Gallery)

16. Peter Ewart for CPR. Canadian Pacific lithograph, 1952

17. Canadian Pacific Railway The New Empress of Canada, lithograph, anonymously designed, 1961

18. Canadian Pacific Railway, Holidays in Canada, lithograph

19. Canadian Pacific Railway, Alaska and the Yukon lithograph

20. Canadian National Railway, Ski in Canada's Laurentian Mountains, silkscreen, circa 1950s