Many people feel a bit of trepidation when talking about art, but don’t be intimidated by art! Art may invigorate you, change your thoughts, even disgust you or make you roll your eyes. At times, it provokes the most common comment: “I don’t get it,” or “I could do that.”
But art should never make you feel inferior or unintelligent — if you don’t get it, it’s not your problem. It’s nobody’s problem — it’s not even a problem. Whether you buy an inexpensive piece from HomeSense or an expensive piece from a fancy high-end gallery, if you like it, that’s grand.
article continues below
Trending Stories
My parents were Second World War “war artists,” that is, they were part of a group of Canadian painters in the army who were especially chosen to go overseas and paint the scenes of war that they observed. Their art became the property of the Canadian government and is now housed in Ottawa, both in the Canadian War Museum and the National Gallery.
My mother, Molly Lamb Bobak, was the only female war artist and that’s how she met my father, Bruno. Dad told me that he was “forced” to share a studio with the only woman painter (but obviously it worked out because here I am, and I resemble both of them).
If you would like to see some wonderful selections of war art, pick up a copy of the beautiful, profoundly moving book Canvas of War by Dean F. Oliver and Laura Brandon (Douglas and McIntyre, 2000). Mum’s favorite painting from the war (albeit, sadly horrifying) was by Fred Varley and is on page four. It was titled For What? – and what a wonderful title for such a tragic subject.
Although I grew up surrounded by art and artists (some very eccentric!) and was dragged to every art exhibit in Canada, I know no more than anyone about the personal meaning of art to each of us. Looking at art is a very private journey, and if you would like to learn more and experience what art may do for you, how it can enhance or alter your feelings, opinions and knowledge, I recommend these books.
Mythic Beings, Spirit Art of the Northwest Coast by Gary Wyatt (Douglas and McIntyre, 1999) is a superb collection of beautifully photographed works by 34 First Nations artists. Each image includes a text in the form of an oral history, a spiritual story or myth by the artist.
For example, the artist Ken McNeil’s alder and goat hair mask titled The Wind depicts the merging of four winds, each representing a distinct personality, or Raven’s Eye by one of my favourite contemporary Indigenous artists, Susan Point. Created from yellow cedar, kiln-cast glass, mirror and paint, the piece represents, in Point’s words, “looking backward and looking forward …”
The selected exquisite work and passionate text is deeply meaningful for all of us. I cherish this book!
Wild Flowers (Royal B.C. Museum, 2006) is a delightful little collection of 21 short writings by Emily Carr accompanied by enchanting illustrations by Emily Woods, Carr’s childhood drawing teacher.
Kathryn Bridge’s excellent insightful forward tells us that Emily Carr wrote these pieces later in life (1940) while recovering from a stroke.
Carr writes of the glorious shrubbery and forest blossoms, but to us, she says: “Stick to your road of dirt oh human-shoe-of-leather, for you the smell of petrol-haste, horse manure and human sweat.” (I get it Emily!).
An excellent way to reflect upon art is to visit an art exhibit at a local gallery. (My friend Michael at the Madrona Gallery downtown loves to talk about Canadian art!) Then, if it’s available, pick up the catalogue of the work and look it over in a quiet moment at home.
One of the best book/catalogues I ever purchased was Art B.C. Masterworks From British Columbia by Ian M. Thom (Douglas and McIntyre, 2000). This is a vast and diverse selection of art that covers photography, sculpture, installations and both historical and contemporary painting from the Vancouver Art Gallery’s collection. It includes my favourite painting of Dad’s, a large oil, semi-abstract, of Vancouver Harbour (1959) — the strip of red tankers under a dusty pink sky beyond the cobalt blue water is, for me, absolutely gorgeous.
Currently, there is an art exhibit of Emily Carr’s early work, (the paintings she did in France, before her vivid, heavenly West Coast forest paintings) at the Royal B.C. Museum. The exhibit is titled Emily Carr: Fresh Seeing, and the catalogue is a stunning, colourful hardcover compilation of the displayed art.
Think of art as your private little spiritual adventure. It’s intimate, almost secretive, and may be even more valid during these current pandemic times.
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
