Challenging Canada’s Landscape Traditions Essay Sample

Subject Name : Arts and Humanities

Introduction

In terms of 20th-century Canadian artwork, Emily Carr is one of the major Canadian artists who is recognized for her depiction of the landscapes of the Pacific Northwest and its aboriginal culture. She is considered the pioneer of the post-impressionist and modernist styles of painting in Canada (Dawn, 2011)^{^[1]}. Her work as an artist had deeper implications for the representation of non-white communities. She highlighted the issues surrounding the Indigenous issues through her artwork. In the early 20th century, Catholic Church was the main benefactor of any artwork based in Canada. In the later part of the same, the artists started using combinations of the French, British, and American artistic traditions, along with following the European styles. The artists also worked on promoting nationalism. This essay aims to analyze one of the 20th-century Canadian artworks by Emily Carr, named An Aboriginal School House, Lytton, B.C., 1910, watercolor on panel. Concerning the above-mentioned artwork, how does it manifest, resist, complicate, and depart from Canada’s hegemonic landscape tradition, the expression of artwork in terms of the Indigenous survivance or resurgence, and does it speak to the changing character or composition of the Canadian society or the changing social status of Canadians will be discussed in the following paragraphs.

The artwork by Emily Carr, Aboriginal School House, Lytton, B.C., 1910, watercolor on panel, manifested, resist, and depart from Canada’s hegemonic landscape tradition in terms of politics, mainly regarding Indigenous communities (Moray, 1999)^{^[2]}. This artwork is a watercolor on the panel that divides from the dominant landscape tradition of the Canada of the concerned period of time. The artwork manifests a withdrawal from the representation of the traditional landscape that was significant in Canada during the period of the 1900s. The earlier generation of Canadian artists, mainly popular as Group of Seven, tried to portray the rugged, idealized, unspoiled vision of the landscape of Canada. In terms of this, Emily Carr depicted the original condition of the land. Through her artwork, she also demonstrated the Aboriginal School House, which was a crucial structure and a symbol of the struggles faced by the Indigenous people under the Indian Residential School System of the government of Canada. The same school was described as the government’s effort to understand the Indigenous community and suppress their culture, which was considered a contrast to the valuable depiction of the landscape. Also, Carr’s artwork manifested a withdrawal from this kind of landscape tradition and was mainly focused on the political reality of the land and its people.

Additionally, Carr’s artwork resists the dominant landscape tradition of Canada by challenging the depiction of the Indigenous people in the Canadian art of that period. Indigenous people were considered passive and inferior by several artists in Canada at that time, along with consideration of their presence being erased wholly (Braun, 2002)^{^[3]}. In contrast to this, Carr’s artwork demonstrated the Aboriginal School House as a strong medium or symbol to portray the resistance factor of the Indigenous culture. Through the depiction of the school in her artwork, Carr was focused on demonstrating that colonization did not result in making Indigenous people victims and they were actively involved in resistance to their suppression (Braun, 2002)^{^[4]}. The title of the artwork identified the Aboriginal ownership of the building of the school, which resists the tendency to erase the presence of Indigenous people from the Canadian land.

Moreover, Carr’s artwork departed from the dominant or hegemonic landscape tradition by the address of the politics of the land. By the depiction of the Aboriginal School House, Carr acknowledges the deep-seated politics of colonization and the government practices to understanding Indigenous peoples. The artwork by Carr also demonstrated the relationship between the land and politics.

Overall, Emily Carr’s artwork represents the crucial departure from Canada’s dominant landscape tradition prevalent in the 20th Century. As discussed above, the manifestation of the artwork is regarding the departure from the rugged, idealized, and unspoiled vision of the Canadian landscape which was created by the Group of Seven. The artwork also resists the project of erasing the Indigenous people and their culture from the land by the colonialists. Through the depiction of the Aboriginal School House, the artist demonstrated the departure from such landscape tradition of Canada which contributed to the politically informed representation of the land and the concerned people and communities.

In terms of the expression of Indigenous survivance or resurgence, Carr’s artwork is an important art piece for its depiction of the intersection of colonialism and Indigenous cultures in Canada. The schoolhouse depicted in the artwork is in a state of disrepair, with peeling paint, and a broken window, which suggested the neglect by the authorities who were liable for providing education to the children from Indigenous communities.

The scene depicted in the artwork can be referred as to bleak, along with the pattern of survivance and resilience. The longhouses in the background serve as a reminder of the rich cultural heritage of the Indigenous culture of British Columbia. In recent years, there have been broader movements regarding Indigenous survivance and resurgence in Canada where Indigenous people reclaimed their cultures against the rising colonialism. Carr’s artwork supported the movement as it highlighted the significance of the preservation of Indigenous cultures. Her portrayal of the schoolhouse as a land of both negligence and resistance demonstrated the complex relationship between colonialism and the Indigenous community. With the depiction of the schoolhouse in such evocative and stark forms, Carr reminded entire citizens of the country and other countries regarding the importance of recognizing and honoring Indigenous cultures, both past and present.

Moreover, Emily Carr was a Canadian artist and writer who was inspired by the indigenous people of the pacific northwest coast. Indigenous resurgence means that people can reclaim what has been stolen from them whether it is in terms of their land, language, cultural beliefs, traditions, and teaching that allow them to be better in terms of aspects of life. An aboriginal schoolhouse is a title that is given to the artwork that states the location of the work. In this artwork, Carr connects the children to the land they occupy (Semeniuk 2021)^{^[5]}. Their artwork of Emily was very much inspired by the people she knew and loved. Sensitive evocations reveal their attachment of Emily to the Canadian landscape and culture that she is inspired by. Current artwork depicts prejudices toward a specific culture. It is making inclination of the Aboriginal resurgence that makes the Aboriginals fight for them in their nation. The perspective is much beyond taking the land and fighting for self and culture. It will make the Aboriginals to be involved in a constant struggle of theirs. The artwork is a presentation that how Aboriginals will be striving for a resurgence that makes them able to live a peaceful and dignified life.

In terms of the impact of 20th Canadian artwork and changing the status of Canadians, To throw light on prejudices toward specific cultures specifically in the case of Aboriginals. The phenomenon of prejudice is defined as the unfair meaning of dislike for a person or a group because of race, sex, and religion. In Canada and other nations, the phenomenon is existing among the Aboriginals. To alleviate the Aboriginals and eliminate prejudice from society, it is important to raise awareness and present it as an issue. It will make the changes at various levels that impact the macro and micro dynamics to be better comprehended (Rizzardi, 2019)^{^[6]}. The ideology presented in the Carr artwork was shaped by diverse and conflicting influences. She had profound curiosity and respect for her ancestry and time. It became the foundation for the Aboriginal culture and people that make them able to express themselves.

In addition, the 20th Canadian artwork is a depiction of specific geographical, political, and social ruptures that is emerging among the indigenous culture. It is a narrative that shows the history of Canada and its settlement and displacement. The artwork was a voice raiser that made the nation have a look at whether what they are doing with a specific culture is right or not. Various modern religious paintings act as light awakening and wonder. The artwork that is shortlisted is showing a schoolhouse window from which the light peers to two children. Two-centered children having the divine connection is interpreting the metaphor. In this, it is related that light that is coming is related to education and two-centered children can be enlightened with the education. In addition, the other side of the picture depicts a boy whose shadow is getting cast off and symbolizing the dark culture (MacKenzie 2019)^{^[7]}. The dark culture haunts him and prevents him from ever becoming fully Canadian. The fear of not having the opportunity to be a part of society is making him unable to take the opportunities that are making that boy to be grown. Carr connects the child to the land implying their faith toward the motherland that is allowing them to bring in the light and resulting in the better urge to sustain in the society. It is the integration of pre and postmodern art that allows the changes to be understood that bring the Aboriginals to come from the past and reflect on the future.

The artwork that is there in the 20th-century Canadian art gallery is a mirror of the society by which the changes can be adopted. One of the artworks " Death of a Goldfish" illustrates the privileged spaces of a major urban center. The spaces that are accessible by the non-aboriginal people and for which the aboriginal people are unable to access. It is acknowledging the emotion of the children that makes aboriginal people a part of society. In addition, the color palette is brown, black, and navy with a hint of red marks that displays the musky and darkness. Yes, the paintings speak to the changing social status of Canadians that makes the Aboriginals a part of the society. The color and message that are conveyed in paintings are a great inspiration to society (Visser 2022)^{^[8]}. It brings the light on politicians, social workers, and others to work in the direction of Aboriginals. Altogether, it allows the implementation of new policies and framework that favors society and elevates the level of Aboriginals. There is a significant change that has been seen in Canadian society that makes the rise of better chances in the context of employment, education, and so on.

Conclusion

In conclusion, taking the inference of 20th-century artwork, it is clear that it is the integration of visual and plastic arts originating from the geographical area of Canada. It is marking the thousands of years of habitation by aboriginal people followed by the waves of immigration that include artists of European origins and artists with heritage from all around the world. One of the greatest of all time is Emily Carr, the work is inspired by a first nation village who have been struggling with their livelihood. The paintings made by her were the presentation of society and its aspects. Current artwork depicts prejudices toward a specific culture. It is making inclination of the Aboriginal resurgence that makes the Aboriginals fight for themselves in their nation. The artwork will be a presentation of aboriginals and their struggle that will wake up society and its people to see. The use of a color palette and demonstration of character is depicted in such a manner that raises awareness about various themes. Discrimination, colonization, poor opportunities, and social exclusion that is presented by the artwork and acts as a mirror to deploy the change. In conclusion, Canadian artwork will be a great game changer in society. Carr’s artwork can be considered a strong testament to the survivance and resilience of the Indigenous people against colonialism. The depiction of the artwork is regarding the negligence of a schoolhouse surrounded by traditional longhouses which created a reminder of the struggle regarding the perseverance and revitalization of the Indigenous culture in Canada. As Indigenous peoples continue to assert their sovereignty and fight for their rights, Carr's painting remains a powerful symbol of their struggle and resilience.

References

Braun, Bruce. “ Colonialism's afterlife: vision and visuality on the Northwest Coast.” JSTOR. April 4, 2023. https://www.jstor.org/stable/44250882.

Dawn, Leslie. “National visions, national blindness: Canadian art and identities in the 1920s.” UBC Press (2011). https://books.google.co.in/books?hl=en&lr=&id=vC1D0Y8-KcUC&oi=fnd&pg=PR5&dq=In+terms+of+20th-century+Canadian+artwork,+Emily+Carr+is+one+of+the+major+Canadian+artists+who+is+recognized+for+her+depiction+of+the+landscapes+of+the+Pacific+Northwest+and+its+aboriginal+culture.+&ots=8zoHiWRvZM&sig=yA1CAppjryt1NDHtGya4lTEY1wQ&redir_esc=y#v=onepage&q&f=false

MacKenzie, Lily Iona. "Emily Carr: An Artist’s Evolution: December 13, 1871–March 2, 1945." Jung Journal 13, no. 3 (2019): 119-134. https://www.tandfonline.com/doi/abs/10.1080/19342039.2019.1637187

Moray, Gerta. “T'Other Emily:" Emily Carr, the Modern Woman Artist, and Dilemmas of Gender.” April 4, 2023. https://www.jstor.org/stable/42630612

Rizzardi, Biancamaria. "Through the Leaves to the Trunk: Emily Carr's Invention of Nature." Caliban. French Journal of English Studies 61 (2019): 69-84. https://journals.openedition.org/caliban/6040

Semeniuk, Yasmine. “Themes of Race and Belonging in the Works of Emily Carr”. Themes of Race and Belonging in the Works of Emily Carr. April 4, 2023. https://beaconjournal.arts.ubc.ca/themes-of-race-and-belonging-in-the-works-of-emily-carr/

Visser, Olivia. "Writing Selfhood: Emily Carr, Lawren Harris, and their" Great Canadian West"." Women Writers' Archive 1 (2022). https://course-journals.lib.sfu.ca/index.php/wwa/article/view/427