Frances Anne Hopkins
Canadian (1838-1919)
Canoes in a Fog, Lake Superior, 1869
oil on canvas
Glenbow Museum Collection; Purchased, 1955
55.8.1
Although it was exceptional for a woman of her time, Hopkins often accompanied her husband, a senior official with the Hudson's Bay Company, on trips along the fur trade routes. Voyageurs (men who travel by canoe) transported beaver pelts in large birch bark canoes. In the nearest one, the artist, holding a sketchpad, can be seen beside her husband. Hopkins' large oil paintings related to the fur trade were all based on drawings and watercolours that she did while on trips like this one. This beautiful painting is an image of serenity in the wilderness, combining realistically observed details with a lyrical and romantic style.
Théophile Hamel
Canadian (1817-1870)
ABC's, n.d.
oil on canvas
Glenbow Museum Collection; A gift bestowed in loving memory of Don McMorland by his family, 2003
2003.022.004
Hamel was Quebec's leading portraitist in the middle of the nineteenth century. In this group portrait, the little sister is being gently scolded for her inattention to her studies. Clearly the little girl holding the book of ABC's is the focus of the composition. Centrally placed, only she is seen full-face and her red, empire-style dress provides the only bright coloration in the painting. With her tilted head, long soft curls, and dreamy expression she is contrasted to her more disciplined brothers. While the older brother is affectionate and protective, the younger brother seems to be admonishing her with both words and gesture.
William Bradford
American (1823-1892)
The English Arctic Expedition in Search of Sir John Franklin, n.d.
oil on canvas
Glenbow Museum Collection; Purchased, 1961
61.46.28
Bradford's monumental paintings of sailing vessels in frozen Arctic landscapes are based on a series of northern voyages undertaken during the 1860s when he recorded his firsthand observations in hundreds of sketches and photographs. Into this harsh landscape, Bradford recreated one of the epic searches for Sir John Franklin who mysteriously disappeared with his crew in 1847 during his third and final Arctic expedition.
Richard Barrington Nevitt
Canadian (1850-1928)
First Whiskey Spilled, 1874
watercolour and pencil on paper
Glenbow Museum Collection; Purchased, 1974
74.7.11
Nevitt was a young surgeon and amateur artist who accompanied the North-West Mounted Police in the momentous March West of 1874. The arrival of the Mounties ended the practice of exchanging buffalo robes for whiskey and established law and order in the West. In this picture whiskey is being dumped into the Oldman River after the arrest of the first American bootleggers. Nevitt also documented his journey in letters that were acquired by Glenbow Archives.
Thomas Mower Martin
Canadian (1838-1934)
Train in the Mountains, n.d.
oil on canvas
Glenbow Museum Collection; Purchased, 1962
62.3
Starting in the 1880s the Canadian Pacific Railway gave free passes to artists to travel to the West. In return, images produced by these "railway artists" were used to promote tourism. The relatively small scale of the train in its winding passage through the mountains reinforces the sublime beauty and monumentality of the landscape. At the same time, it symbolises the notion of progress.
George Agnew Reid
Canadian (1860-1947)
At the Window, 1888
Glenbow Museum Collection; Purchased with funds from the Glenbow Deaccession Fund, 1980
80.49.1
Reid was an important academically trained Ontario artist. This is an intimate portrait of an unidentified elderly widow captured in an ordinary moment in a quiet, lonely life. Seated in a rocking chair in front of an open window in early spring, she is totally focussed on her knitting and seems unaware that she is being observed. The backlit composition is marked by the contrast between the dark interior and the sunny exterior.
Frederic S. Remington
American (1861-1909)
The Bronco Buster, 1895
bronze
Glenbow Museum Collection; Gift of Mr. and Mrs. John Davidson, 1980
80.25.40
Remington was the first artist to portray the dynamic subject of bronco busting in a sculptural form. The brilliantly cantilevered composition of the sculpture rests the full weight of the horse and rider on the hind legs of the animal. The sculpture, which was Remington's first three-dimensional work, was an immediate critical and financial success, and continues to be his most popular work.