O CHRISTMAS TREES, O CHRISTMAS TREES

O CHRISTMAS TREES, O CHRISTMAS TREES

My enthusiasm for the holiday season means that over the past few years I have already used up some of the familiar and well-known Canadian art that has to do with winter, Christmas or the holidays (with the exception of Clarence Gagnon’s Midnight Mass (1908).

(Clarence Gagnon's Midnight Mass (1908))

Throughout the 19th and 20th centuries Canadian artists have been creating an abundance of lovely wintery scenes that can easily pass as the imagery for beautiful Christmas and Season’s Greetings cards, but they are appropriate all winter long and are not Christmas-specific. I have discussed many of these Canadian masterpieces in previous blogs such as In the Not-So-Bleak Midwinter: Winter Wonderland Art and Lovely Weather for a Sleigh Ride Together with Art. So as not to repeat myself, like a few of the other blogs this year I will not limit myself to focusing on Canadian art for this holiday blog.

Although creativity and artistry are abounding during the holiday season in the form of ornaments, decorating and design there are not many specifically ‘art historical’ topics that I can think of to write about. However Christmas has lots of deep historical roots, and there are lots of stories to be told. Most cultures around the world have always had some sort of celebration in mid-to-late December as this coincides with the Winter Solstice.

I have decided to select one festive custom to talk about and illustrate with great works of art. I chose the history of the Christmas tree. Although this is a non-Canadian art themed topic, I did choose it because I was thinking of important themes in Canadian art. Based on the country’s landscape, trees have always been an important theme in Canadian art, especially the ‘lone’ tree, and very often an evergreen. That sounds an awful lot like a Christmas tree.

(A handful of Canadian masterpieces featuring the lone pine or evergreens in winter)

(Elizabeth Stanhope Forbes (Canadian, 1859-1912) The Christmas Tree

The above painting by Canadian artist Elizabeth Stanhope Forbes is at least one example of a Canadian painting featuring the Christmas tree, though she did move to and paint in England (where the subject matter was depicted more regularly at the time)

Evergreens have had a special meaning in winter since pre-Christian times in cultures all over the globe. During the ‘festive’ season people decorated their homes with evergreens. The Ancient Egyptians believed the Sun to be a God whom became sick in the darkness of winter, and they celebrated and decorated with evergreens at the Winter Solstice to signify that the Sun God could begin to recover. The Romans celebrated ‘Saturnalia’ during the Winter Solstice and also decorated with evergreens. Saturn was the God of Agriculture and the time of year signified that the agricultural season was just around the corner. Celtic Druids decorated with evergreens at this time because it was meant to symbolize everlasting life. In Scandinavia evergreens were special to the Sun God. As Christianity spread it is reputed that when St. Boniface converted Germanic pagans he replaced a worshipped oak tree with an evergreen tree because the triangular shape is reminiscent of the Holy Trinity and points to Heaven.

The pervasive use of evergreens during the festive season survived with new Christian customs. The idea of decorating a whole tree came a little later. Loose connotations to the Christmas tree are found in Georgia and Poland very early, but the closest connection to todays traditional Christmas tree took root in Northern Germany and Livonia (modern Estonia and Latvia) in the late Middle Ages and Renaissance. In these regions Renaissance Guildhalls housed evergreen trees decorated with sweets to be enjoyed by Guild apprentices and children. Often the tree would be transferred to the town square on the final evening of festive celebrations. Records of this have survived for a certain Livonian guild, the Brotherhood of Blackheads, for 1441, 1442, 1510 and 1514; and for the town of Bremen in 1570.

In the Rhineland in the late 15th and 16th centuries devoted Christians would sometimes put evergreen trees in their homes, and they became a Protestant symbol at Christmas as opposed to the Catholic Christmas crib. There are records of evergreen trees being hung in St. George’s Church in town of Selestat (modern day Alsace) in 1521.

St. George's Church in Selestat, Alsace continuing the tradition of hanging trees in the church at Christmas)

Protestant upper-class families in Upper Rhineland towns began placing decorated evergreen trees in their homes after this. The move from guildhalls and churches into the home begins the development towards our contemporary Christmas tree practices. Trees in the home took longer to spread into rural areas but slowly over the course of the 18th century all over Germany it became more prevalent, in so that by the 19th century the Christmas tree was thought of as an embodiment of German culture (especially for Germans abroad).

(Franz Kruger, (German 1797-1857))

(Franz Skarbina (German, 1849-1910))

(Felix Ehrlich,(German, 1866-1931))

Also in the early 19th century all over Europe the nobility were adopting the practice of decorating an evergreen tree. The Christmas tree came to England via the Hanoverian merge between King George III and his German wife Charlotte. Queen Victoria had one yearly as a child, and made the tradition even more en vogue within the upper classes when she continued to have and promote them after marrying her German cousin Albert in 1841. Christmas trees began to be advertised in magazines often in the mid-19th century, and by 1920 it was not just the middle and upper classes that had Christmas trees but all classes.

(A 19th century German Christmas market selling trees (artist unknown))

(Franz Rumpler, (Austrian, 1848-1988))

The Christmas tree made a few isolated debuts in North America towards the end of the 18th century. For example, although Christmas trees did not turn up with regularity in Canada until the 2nd half of the 19th century, a German general and his baroness wife stationed in Quebec had a Christmas party featuring a decorated tree in 1781. Americans became thoroughly interested in Christmas trees after an 1850 illustration of Queen Victoria and her family around their Christmas tree at Windsor Castle was re-published in an American magazine. Within just 20 years of the publication it was commonplace to have a Christmas tree in American homes. The popularity for them was so great that numerous places around the country have laid claim to having the first Christmas tree in America.

(Coloured print of Queen Victoria and her family by the Christmas Tree at Windsor Castle)

(Eastman Johnson, (American, 1824-1906))

I will conclude this brief general history of the Christmas tree with more paintings that depict the Christmas tree in some capacity. I have attempted to select paintings from the late 19th and early 20th centuries to best illustrate similarities and differences between Christmas tree traditions up to a hundred years ago and our contemporary versions. I also tried when possible to select some works that are impressionistic, or somewhat impressionistic, in style to compliment the lovely Canadian impressionist paintings that are currently on exhibition and sale at Masters Gallery Calgary. The Impressionism in Canada exhibition and sale celebrates the launch of a new seminal publication on the subject called Impressionism in Canada: A Journey of Rediscovery. There will certainly be some lovely impressionistic winter wonderlands within the book, which is available for sale at Masters Gallery in Calgary. Incidentally, many of the below paintings are by artists from Northern Europe whom like the Canadians who learned of impressionism in France then took the method back to their own countries and embuded a certain 'northerness' in their impressionism.

Season's Greetings to all and enjoy these images of trees from the past.

BY: JILL TURNER

(Viggo Johansen (Danish, 1851-1935))

(Viggo Johansen (Danish, 1851-1935))

(Carl Larsson, (Swedish, 1853-1919))

(Agathe Rostel, (German, 1868-1926))

(Fyodor Reshetnikov, (Soviet, 1906-1988))

(Sergei Dunchev, (Russian, 1916-2004))

(Boris Smirnov, (Russian, 1905-1993))

Henry Mosler, (American, 1841-1920))

(Margaret Thomas, (British/Australian, 1842-1929))

(Albert Chevallier Tayler, (British, 1862-1925))

(Marcel Rieder, (French, 1862-1942))

(Harry Bush, (British, 1883-1957))

Istvan Czok-Zuzu, (Hungarian, 1865-1961)

Jozsef-Rippl-Ronai, (Hungarian, 1861-1927))

LEST WE FORGET: REMEMBERING CANADIAN WAR ART

LEST WE FORGET: REMEMBERING CANADIAN WAR ART

Years ago my post-graduate studies brought me to the Imperial War Museum on an assignment about war artists and the art of World War I. Studying amongst the numerous great galleries and museums of London, you get very used to seeing art first hand instead of just in textbooks. For that particular essay I had scouted out the paintings I wanted to reference in the Imperial War Museum in advance of arriving. When I got there I found what I was looking for, with the exception of a crucial example of a wartime painting that bolstered by essay’s argument. That painting was Paul Nash’s Void, and I had thought that it was located at the museum. I cited the painting from a textbook illustration, and never saw it in person.

Living in Toronto a few years later I took a pilgrimage-like weekend trip to Owen Sound to visit the Tom Thomson Gallery and the little old churchyard where his gravestone resides near where he grew up. At this time, the Tom Thomson Gallery was playing host to a travelling exhibition called Dark Matter: The Great War and Fading Memory. To my great surprise, I walked into the show to find Paul Nash’s Void that had eluded my presence in London. I had in fact been confused regarding the whereabouts of this painting, which was not in fact owned by the Imperial War Museum like so many of Nash’s paintings but rather by our very own National Gallery of Canada. It was in Owen Sound on loan for the exhibition.

(Paul Nash Void 1918 oil on canvas (National Gallery of Canada))

I was thrilled to see the painting in person but furthermore the whole show acted as a reminder of just how integrated and integral Canadian war artists were amongst the Allied troops during World War One. Paul Nash was a British artist who was associated with the art movement, Vorticism (the very same movement that praises speed, technology and modernity that inspired Sybil Andrews and the Grosvenor School of Printmakers) Like Paul Nash, artists were enlisted as ‘Official’ war artists and were sent with regiments to the frontlines in order to document war efforts. Many of these artists were Canadians, as Canadian involvement in World War One was extensive.

Paul Nash The Menin Road 1919 (another example of Nash's war art))

(CRW Nevinson (British) Road to Ypres 1916 oil on canvas (example of Vorticism and war art))

Umberto Boccioni (Italian) Charge of the Lancers 1915 (example of Italian Futurism and war art))

This blog will showcase Canadian war artists’ work during World War One. These works are interesting to look at because often they deviate from the typical styles and or themes that the artists’ regularly did. The art of World War One is quite distinctive and could almost be considered an art movement of it’s own. Paul Nash’s manner of painting is archetypical of the World War One art. Stylistically compositions tended to be angular, linear and highly suggestive of movement, speed, industry and hardship. These features draw heavily from Vorticism and Italian Futurism, however the war artists were not glorifying war like Futurists and often Vorticists before the onset of the war. On the contrary, Paul Nash is noted to have remarked, “I am no longer an artist, I am a messenger to those who want the war to go on forever… and may it burn their lousy souls.”

(J.W. Beatty Ablain St-Nazaire 1918 oil on canvas (Canadian War Museum))

David Milne Ablain St-Nazaire Church from Lorette Ridge Looking toward Souchez and Vimy 1918 (National Gallery of Canada) Beatty and Milne capturing the same subject)

Maurice Cullen Dead Horse and Rider in a Trench 1918 oil on canvas (Canadian War Museum))

David Milne Shell Holes and Wire at the Old German Line on Vimy Ridge (National Gallery of Canada))

Frank Johnston Looking into the Blue 1918 (Canadian War Museum))

Like Nash, official Canadian war artists were disgusted by the horrors of war. The first four Canadian artists appointed by the Canadian War Memorials Fund were William Beatty, Fred Varley, Maurice Cullen, and Charles Simpson. They were given the rank of Captains and had full military pay. Within a short time though however, the Canadian War Memorial Fund instigated by Lord Beaverbrook had as many as 20 artists conscripted with the Canadian troops. David Milne was quite prolific while in service in France, and Frank Johnston was commissioned to paint the home front bases.

Varley wrote to his wife in 1919 about the war:

I’m mighty thankful I’ve left France- I never want to see it again… I’m going to paint a picture of it, but heavens it can’t say a thousandth part of a story… we are forever tainted with its abortiveness and it’s cruel drama- and for the life of me I don’t know how that can help progression. It is foul and smelly and heartbreaking.

On another occasion that year Varley wrote to his friend Arthur Lismer:

I tell you Arthur, your wildest nightmares pale before reality. How the devil one can paint anything to express such is beyond me.

Yet he managed to paint rather successfully.

(Frederick Varley For What? circa 1918 oil on canvas (Canadian War Museum))

(Frederick Varley German Prisoners circa 1919 oil on canvas (Canadian War Museum))

(Frederick Varley Some Day the People will Return 1918 oil on canvas (Canadian War Museum))

A.Y. Jackson was also sent overseas as a wartime artist, as Private A.Y. Jackson. In his autobiography he reminisced:

It is logical that artists should be a part of the organization of total war, whether to provide inspiration, information, or comment on the glory of the stupidity of war… What to paint was a problem for the war artist. There was nothing to serve as a guide… The Impressionist technique I had adopted in painting was now ineffective, for visual impressions were not enough.

This statement helps indicate why most war artists seemed to have strayed from their typical styles/ themes and adopted work based on stylistic principles that were fitting for the depiction of war.

(A.Y. Jackson House of Ypres 1918 oil on canvas (Canadian War Museum))

A.Y. Jackson A Copse, Evening 1918 oil on canvas (Canadian War Museum))

Arthur Lismer also rendered his services to the Canadian War Memorial Fund. By his own suggestion he remained on Canadian soil capturing the war effort at the ports in Halifax. Halifax was a vital arrival and departure point for ships carrying troops, medical support, and supplies back and forth across the Atlantic. And Lismer noted having much to document there.

Arthur Lismer Olympic with Returning Soldiers 1919 oil on canvas (Canadian War Museum))

In Canvas of War A.Y. Jackson’s painting A Copse, Evening is likened to the work of Paul Nash, and it is also noted that Jackson admired Nash’s work greatly. Canvas of War also quotes a 1953 Jackson article whereby he wrote:

I went with Augustus John one night to see a gas attack we made on the German lines. It was like a wonderful display of fireworks, with our clouds of gas and the German flares and rockets of all colours.

Jackson’s connection to the two British artists Paul Nash and Augustus John tell us of the comradery and collaboration that took place between Allied artists from all countries involved.

A.Y. Jackson Gas Attack, Lievin 1918 oil on canvas(Canadian War Museum))

Canadian war art was not limited to the frontlines or the ports, the immense war efforts women put forth working in factories making supplies and provisions was also accounted for by the Canadian War Records. A fine example of this is Mabel May’s Women Making Shells.

Mabel May Women Making Shells 1919 oil on canvas (Canadian War Museum))

Some Canadians produced their masterpieces as artists of war and were praised more for their wartime art than for the art at other intervals in their careers. Their paintings might not be featured prominently in general Canadian art history, but they are featured in publications such as Canvas of War: Painting the Canadian Experience 1914-1945. Two such artists are Cyril Barraud and Eric Kennington.

Cyril Barraud The Stretcher-Bearer Party circa 1918 oil on canvas (Canadian War Museum))

Eric Kennington The Conquerors 1918 oil on canvas (Canadian War Museum))

The majority of these hauntingly effective paintings are owned by the Canadian War Memorial Fund, and thus are kept in public institutions. These works are therefore not very often available on the market and therefore talked about less often. Yet, they are an important part of our history and just like they were intended they remind us ‘Lest we Forget’ of the bravery and sacrifice so many encountered at war. Thus this Remembrance Day let us look at these paintings valiantly rendered from frontline to factory so that we may immortalize the heroes involved and understand the devastation and destruction found at the hands of war.

Canadian war artists were also very involved during World War Two, but a single blog barely adequately covers the art of one world war, let along properly cover two!

BY: JILL TURNER

PAINTING THE PRACTICE OF MEDICINE

PAINTING THE PRACTICE OF MEDICINE

Over the years I have known many medical doctors who have taken an extra-curricular interest in the connoisseurship and collecting of fine art. But what about the other way around? What has happened when fine artists have taken an interest in medicine?

I am not the only one to have wondered about this, as there exist quite a few sizeable publications that survey the topic. Two that are particularly noteworthy compilations are The Art of Medicine (Anderson, Julie et al.), Medicine: A Treasury of Art and Literature (Carmichael and Ratzan), and Medicine in Art (ed. Rousselot, Jean). Based on content from these fine publications and on my own observations, this blog will briefly highlight artists’ depictions of the practice of medicine throughout the history of art.

Various book cover illustrations about Medicine and Art

Unfortunately, Canadian artists are not featured in these publications and most of my own observations are also not regarding Canadian art. Perhaps this is because the majority of Canada’s rich art history dates to the 20th century; and it is said in Medicine in Art that “it is quite astonishing that in our century (20th) medicine has made immense progress in all areas,” and yet “that it is rare to have work of direct observation of medical practice.” In short, I believe that photography and film might play a role in the lack of fine art of medicine in action. However, I would also suggest that a curiosity about the medical field instead appears in other areas of the arts, such as television. Artistic interpretations and glimpses into the realm of medicine come in the form of movies, tv series and documentaries such as Rescue 911, ER, Grey’s Anatomy, Miracle Babies (Canadian), House, Call the Midwife and so many more. In which case, then medicine in the arts does have a place in contemporary Canadian culture. (Life + Death at Vancouver General Hospital is a current reality television series being filmed right here for example) Perhaps film is why there are few fine art paintings of medical subjects in the history of Canadian art throughout the last century.

I can however think of one excellent and exceptional Canadian painting of medical subject matter, and we have had the pleasure of having it at Masters Gallery both in Vancouver and Calgary this year. In stunning hyperrealism and with skillful delicacy, Marc-Aurele Suzor-Cote painted a large-scale canvas of a children’s hospital ward, singling in on an ill young child being visited by a saddened loved one. When Suzor-Cote was studying in Europe he travelled widely and honed his skills by meticulously copying famous Old Master and Academic paintings. Suzor-Cote’s The Visit (1905) is copied from Visiting Day in the Hospital by Henri Jules Jean Geoffrey (Town Hall Vichy) Geoffrey’s version does in fact feature in Medicine in Art in the chapter about the 19th century.

Marc-Aurele Suzor-Cote The Visit (1905) oil on canvas (Masters Gallery Ltd.)

Jean Geoffrey Visiting Day at the Hospital (1889) (Town Hall Vichy, Musee d'Orsay)

I personally would consider the 19th century to be the heyday of sophisticated interpretations of medicine in art. The subject fits perfectly into the realm of genre painting, which was prevalent during that century. Both art and medicine changed enormously in the 1800s, arguably both fields were revolutionized by the close of the century. Surgery became it’s own discipline, and doctors were affirmed as important citizens and well-respected figures. There were changes in status for artists too, as they were being afforded more creative independence than before. They became less reliant on commissioning patrons, who had control of the subject and style they desired. Thus artists saw greater freedom of expression.

Albert Edelfelt Pasteur in his laboratory in 1885 (Musee de Versailles)

Artists associated with the art movements of romanticism and realism found the world of medicine was an ideal subject to express their ideologies. Medicine in Art states that, “Medicine could not fail to interest the romantic painters. Searching for unusual subject matter that would allow for a melodramatic and tormented style, they turned to hospitals, asylums, and epidemics.” Romanticists used themes such as the caring doctor, the obedient child, and fainting spells.

Louis-Leopald Boilly The Vaccination (1807)

Andre Brouillet A Clinical Lesson With Dr. Charcot at the Salpetriere (1887)

Medicine was suitably attractive as a subject matter in realism too. Realists aimed to draw attention to social realities of the time. The endemic presence of illness, injury and disease and their inevitable and necessary management was considered a crucial aspect of daily life and reality; thus appealing to realist painters.

Henri Gervex Before the Operation, with Dr. Pean (1887)

Georges Chicotot The Insertion of a Tube (c 1890)

Romanticism and most realism were suitable ‘official’ art, and many paintings would have been exhibited with praise at higher institutions. The noble acts and empathetic traits assumed of doctors and their deliverance of their patients made the practice of medicine an ideal subject for ‘official’ art and the 19th century mentality in general. Recognition of the feats of medicine through art seems a natural turn of events in such an epoch, and medicine in art thrived beyond European soil as well. Likely one of the most visually recognizable paintings depicting medicine of all times is The Gross Clinic by American Thomas Eakins. There were many other contemporaneous master artists that depicted passionate, insightful or raw glimpses into the medical profession throughout the century, and resultantly is a mass of powerful and evocative masterpieces from this time.

Thomas Eakins The Gross Clinic (1875) (Jefferson Medical College Collection)

Thomas Eakins The Agnew Clinic (1889)

The previous century was not one in which medicine and art co-mingled as often as in the 19th century, or even other eras beforehand. Lacking the sentimentality of the proceeding period, the 18th century lent towards skepticism instead. For various political reasons a belief that the world was falling apart was felt. The result was a societal desire to forget the woes of the world by indulging in frivolity and merriment. Medicine in Art adroitly indicates that at this time there was “no place for the serious painter.” If medicine was depicted, it was most likely in a cynical caricature. Whilst medicine was less frequently showcased in a good light in art, the field was making advances during this period. Let us move backwards in time even further, to a period when medicine was richly included in art.

William Hogarth The Visit to the Quack Doctor (1743) (The National Gallery, London)

This brings us to a time and place that I consider to be the next most fruitful for the representation of medicine in art history. Specifically in Dutch territories, the 17th century was a prosperous era for the independent state, and a Golden Age of art, business, and trade thrived. This success brought about a national flavour that is evident in Dutch Golden Age art. The middle and upper classes expanded, and it was not uncommon for wealthy citizens to found hospitals, hospices, orphanages, and lay convents. They also funded academies where medicine could be practiced, as the Dutch of this time held the human body and its mysteries in high esteem.

Engraving of a 17th century Anatomical Theatre, Leiden, Netherlands

Adam Elsheimer Saint Elizabeth of Hungary Giving Food to Patients in a Hospital (1598)

The wealthy that sponsored the aforementioned ventures welcomed praise and thanks for their support. They would regularly commission artists to paint them in a favourable light in gratitude for their charitable contributions. Thus, a type of medically related scenario became common in 17th century Dutch art whereby donors and directors were painted assembled in situ in their founded establishments. Doctors and surgeons were well-respected citizens as well, and therefore also painted by artists in a favourable manner, though more likely in a pose for effect rather than in true action. ‘The anatomy lesson’ presented artists with a good opportunity to paint doctors and surgeons posing or in action, and as one of the most prevailing scenes regarding medical practice throughout time it also is quite prominent in Dutch 17th century art. Rembrandt painted the well-known Professor Tulp’s Anatomy Lesson in this era, and he was not the only renowned painter of the time to create their ‘anatony lessons’ with eminent doctors and surgeons. Genre painting (scenes of everyday life) was a large component of Dutch Golden Age art, and medical practice lent well to it.

Rembrandt van Rijn The Anatomy Lesson of Doctor Nicolaes Tulp (1632) (Mauritshuis Museum, the Hague)

Adriaen Backer The Anatomy Lesson by Dr. Frederik Ruysch (1670)Commissioned by the Surgeon's Guild, Amsterdam (Amsterdam Museum)

Thomas de Keyser The Anatomy Lesson of Dr. Sebastiaen Egbertsz de Vrij (1619) (Rijksmuseum, Amsterdam)

Jan Steen The Doctor's Visit (c 1665) (Rijksmuseum, Amsterdam)

The roots for the Dutch appreciation for the mysteries of the human body came from the Renaissance, starting in the 2nd half of the 15th century and lasting throughout the 16th century. The Renaissance was a time of discovery and of humanism, which led to a widespread interest in learning more about man and his physique. Thus human anatomy and medicine gained attention. Artists and doctors keenly studied anatomical structures, so much so that many artists would probably have considered themselves to be scientists of a sort and not exclusively artists.

Artists followed many learned pursuits (embodying the expression ‘A Renaissance Man’ rather well) Leonardo da Vinci is of course the most well-known example of this, as well as Michelangelo. They engaged in dissections, autopsies and various modes of forensic medicine. This dedication to anatomy led to increasingly accurate renderings of operations and anatomy scenes; however the ‘anatomy drawing’ itself was more often rendered than scenes of doctors and surgeons in action practicing medicine during this period. Anatomy drawings represent the greatest collaboration between art and medicine during the Renaissance.

Artists researched and draughted highly detailed drawings of the human form to aid in a greater understanding of human anatomy. The chapter devoted to the Renaissance in Medicine in Art tells that, “the interconnections…(and)… functioning of muscles, bones and organs now interested doctors and artists,” (and) “an exact anatomical knowledge for the artist was demanded alongside attention to bodily forms in the work of art.” Anatomy drawings had a function, but they are artistic and beautiful in their own way and make this an interesting period within which artists show a great interest in medicine.

Anatomical drawings by Leonardo da Vinci (circa 1510)

Anatomical drawings by Michelangelo Buonarroti (circa 1510)

Albrecht Durer (1471-1528) Self-Portrait meant for a long-distance consultation with his Doctor The text reads: "there, on the yellow spot, where my finger is pointing, is where my pain is." (now in the Kunsthalle, Bremen, Germany)

Prior to the Renaissance, there was greater religious involvement in medical practice. Monasteries were primary caregiving facilities, and saw to the care of patients more often than doctors and surgeons. It was not until the end of the Middle Ages that medical practitioners worked more independently from the Church. Medicine still features in art during the Middle Ages; however as per the above there was heavy use of religious symbolism involved. The imagery therefore is not always representative of true practice; but rather the beliefs surrounding healing.

In direct relation to readings in the Bible, there were often depictions of ‘Christ the Doctor’ healing the infirm. Other saints like Luke the Evangelist (who was a Doctor) or various patron saints of specific ailments are also depicted as healers in art.

Medieval illumination of Christ Healing a Leper ( date unknown)

Medieval book illustration of St. Roch (Patron Saint of the Bubonic Plague) Healing a Patient

Limb Transplantation by Saints Cosmos and Damian, Swabian c. 1500 (Stuttgart)

Despite popular belief, Medicine in Art indicates that there was “ actually a lively interest in medical science,” during the medieval era. Another common medieval medical theme was imagery of the sick being cared for in various facilities ranging from the homes and monasteries to the newly devised concept of the ‘hospital.’ Medicine in Art notes that the “hospital compound… apparently evoked lively interest amongst artists in the late Middle Ages.”

Manuscript Illustration Reception and Treatment of the Impoverished Sick in a Monastery Infirmary, 13th century (Bibliotheque Nationale, Paris)

Manuscript illustratoin A Medieval Hospital in Aricenna's Canon on Medicine Manuscript, 14th century. (Biblioteca Medicea Laurenziana, Florence)

Miniature illustration of the Sick Ward at the Hotel-Dieu in the Book of the very active life of the nuns of the Hotel-Dieu of Paris (Musee de l'assistance, Paris)

Anonymous Visiting the Sick (15th century) (Church of San Martino, Florence)

Down through the ages, medicine and art have co-mingled and artists have shown an interest in the activities surrounding medical practice. This blog merely ‘touches the tip of the iceberg’ regarding medicine in art, which dates back to antiquity. In the Ancient Egyptian Empire are found portrayals of the God of Medicine and the lesser God of Health and Sickness, Imhotep and Bes, and in Greco-Roman times the dignity bestowed upon medical science is found on fresco wall paintings to ceramic vases.

I will end by bringing Canadian art back into the picture by noting that although there are not many Canadian contributions to the history of medicine in art, we do have a famous figure who was indeed highly involved in both medicine and fine art. Sir Frederick Banting is a famous Canadian doctor and medical scientist who won the Nobel Prize in Medicine for his co-discovery of insulin and its beneficial uses. He has received numerous honorary degrees, research funding and was Knighted for his services by King George V. However, he is also well known as a skilled painter. He painted alongside Group of Seven members, and his beautiful works of art have a lasting desirability on the market no less than his contemporaries.

Should anyone know of any other Canadian paintings that in some way reference the practice of medicine that you would like to share with us we would love to hear from you.

BY: JILL TURNER

Sir Frederick Banting Autumn Scene and St. Tite des Caps 1937 oils on board

(Past Highlights sold at Masters Gallery, Calgary)