Last Essay on the Bush Garden – Northrop Frye-Canadian and Colonial Painting-CORE VIII CANADIAN STUDIES

 Last Essay on the Bush Garden – Northrop Frye

Contents of this books:

Canada and Its Poetry 

The Narrative Tradition in English-Canadian Poetry

Turning New Leaves  

Preface to an Uncollected Anthology 

Silence in the Sea 

Canadian and Colonial Painting

Last essay is Canadian and Colonial Painting: 

I. Introduction: The Influence of Environment on Art

The author begins by exploring the profound impact that a country's physical environment has on the artistic imagination of its people. He argues that large, unexplored territories create a sense of mystery and unease that inevitably finds its way into artistic expression. This is particularly true for colonial societies, where the contrast between settled areas and vast wilderness is stark. The author suggests that this dynamic has been a significant factor in shaping Canadian art, creating a unique tension between the familiar and the unknown.

II. Tom Thomson: Capturing the Canadian Wilderness

The author presents Tom Thomson as an artist who fully embraced the raw, untamed aspects of the Canadian landscape. Unlike some of his contemporaries, Thomson didn't shy away from the more intimidating aspects of nature. His paintings are described as reflecting the "incubus" of the unknown land, with twisted stumps, sprawling rocks, and stark evergreens. The author notes that Thomson's work often conveys a sense of something sinister lurking just beneath the surface, capturing the emotional and psychological impact of the Canadian wilderness on the human psyche.

III. Thomson's Artistic Techniques

Delving deeper into Thomson's artistic approach, the author describes his use of color and design. Thomson is noted for his preference for transitional seasons, capturing the delicate pink and green tints of early spring or the first snowfall. His use of color is described as a "minor ninth" in musical terms, creating tension and energy. In terms of composition, Thomson focuses on linear distance rather than establishing a clear foreground. The author sees this as a reflection of the Canadian experience, where the eye is drawn to the vast distances rather than the immediate surroundings. This technique often results in a blurred or shadowy foreground, emphasizing the sense of expansiveness and mystery in the landscape.

IV. Horatio Walker: Seeking Safety in the Familiar

In stark contrast to Thomson, the author presents Horatio Walker as an artist who sought safer, more picturesque subjects. Walker is criticized for choosing to paint the settled areas of Quebec, particularly the Île d'Orleans. The author suggests that Walker was looking for parts of Canada that had been "thoroughly lived in," avoiding the challenges posed by the wilder, less settled areas. This approach is seen as a retreat from the true artistic challenge presented by the Canadian landscape, opting instead for scenes that were more reminiscent of European pastoral paintings.

V. Walker's Appeal to Nostalgia

The author argues that Walker's work appealed to those who preferred sentimental, pre-digested images of rural life rather than confronting new artistic problems. Walker's paintings are described as featuring stereotypical scenes of rural life, complete with honest toil, patient oxen, and simple piety. The author suggests that this approach was commercially successful because it catered to a desire for familiar, comforting images among Canadian and American audiences. However, this is presented as a failure of artistic courage, avoiding the more difficult task of grappling with the unique aspects of the Canadian landscape and experience.

VI. Conclusion: The Courage of Thomson

The chapter concludes by praising Thomson's courage in facing the artistic challenges posed by the Canadian wilderness. The author suggests that Thomson's approach, though perhaps less commercially successful in the short term, was more artistically authentic and significant. By confronting the raw, often unsettling aspects of the Canadian landscape, Thomson is seen as having made a more valuable contribution to Canadian art. The author implies that this willingness to engage with the unique characteristics of the Canadian environment, rather than retreating to more familiar and comfortable artistic territory, is what distinguishes truly important Canadian art.