Marion Nicoll
Canadian (1909 -1985)
Prophet, 1960
oil on canvas
Glenbow Museum Collection; Gift of Shirley and Peter Savage, Calgary, 1990
990.185.1
In a conservative environment for art and for women in Alberta, Marion Nicoll forged a creative path as an abstract painter and an influential teacher. Prophet is dominated by a bold central element in black capped by a prominent red u-shape enclosing a small, abstracted bird. Its emphatic upright stance and the vertical format of the picture combine to establish a potent iconic presence. The stark juxtaposition of colours, the flat, uninflected surfaces, and the crisp contours of reversible positive and negative shapes convey a sense of elemental power.
Emily Carr
Canadian (1871-1945)
Among the Firs, ca.1931
oil on canvas
Glenbow Museum Collection; Purchased, 1955
56.2.2
The rain forest of British Columbia was sacred to Emily Carr. She tried to capture the majesty, breadth, and mystery of its soaring trees, filtered light, and vast scale. Fascinated by the ubiquitous sense of growth, movement, and cohesion in the forest, she invented her own visual language of forms to express these concepts. For example, the canopy sweeping across the top of the picture conveys the unity of the trees, the receding path suggests its depth, and the air-borne whirling elements evoke its vibrant energy.
J.E.H. (James Edward Hervey) Macdonald
Canadian (1873-1932)
Lake O'Hara with Snow, n.d.
oil on wood panel
Glenbow Museum Collection; Gift of Dr. and Mrs. Max Stern, 1979
79.6.1
Macdonald was a founding member of the Group of Seven. Between 1924 and 1930 he visited Lake O'Hara in the Canadian Rockies every year, expressing his passion for this beautiful area in paintings, poems, journals, essays, and lectures. In this oil sketch, the intimate, closed composition evokes the quietude and seclusion of the pristine lake. By cropping the peaks of the mountains, Macdonald emphasises their grandeur and majesty.
Jack Shadbolt
Canadian (1909-1998)
Heraldic Forms, 1951
watercolour, latex, and ink on paper
Glenbow Museum Collection; Purchased with funds from the Glenbow Museum Acquisitions Society, 1987
987.1.4
Vancouver based Jack Shadbolt was a pre-eminent Canadian artist. Influenced by Surrealism, he synthesized visual elements (which are vaguely suggestive of the world of nature), decorative patterns, and shapes that recall the art of non-western cultures. Situated centrally and frontally, a being of sorts in white "stands" with raised, outstretched "arms." It is flanked and surrounded by an array of heavily outlined, dramatically lit bold shapes set into an abstract, shallow "landscape."
Lionel LeMoine FitzGerald
Canadian (1890-1956)
Composition No.1, 1951
oil on canvas
Glenbow Museum Collection; Purchased with funds from the Glenbow Museum Acquisitions Society, 1992
992.26.1
FitzGerald, the last member of the Group of Seven, was based in Winnipeg. He is best known for his consummately elegant compositions of urban scenes and interiors. He began to experiment with abstraction in the 1950s. This beautiful painting is composed of tiny dabs of pigment subtly changing in value and tone, to create the illusion of volume in an exquisitely balanced and harmonious composition of shifting planes in space.
Maxwell Bennett Bates
Canadian (1906-1980)
Girl with Yellow Hair, 1956
Glenbow Museum Collection; Gift of the Devonian Foundation, 1979
R856.43
A strangely compelling girl stares out at the spectator. With her face bisected vertically by dramatic lighting, she relaxes at an urban café with her elbow propped on top of the checkerboard tablecloth. This portrait by Calgary based Maxwell Bates has the hallmarks of European modernism. As in Expressionism, the thick impasto is applied vigorously and the image is distorted. And, as in Synthetic Cubism, the space is shallow and constructed of decorative planes.
Ted Godwin
Canadian (b. 1933)
Red Grew, 1961
oil on canvas
Glenbow Museum Collection; Purchased, 1975
75.7.1
Godwin was a member of the Regina Five, a group of abstract painters. With its intense colour, layering, large-scale, and energetic gesture, this monumental painting resembles Abstract Expressionism. However, it is more closely related to the world of nature. Red Grew is a richly evocative painting with a slowly expansive sense of movement that is suggestive of organic growth, as well as biomorphic forms seen under a microscope.