Inside the Canadian art gallery spotlighting archival Maclean’s covers - Maclean’s | Canada News Media
Connect with us

Art

Inside the Canadian art gallery spotlighting archival Maclean’s covers – Maclean’s

Published

 on


Canadian illustration, family ties and national identity are all at the heart of the Ottawa Art Gallery’s new exhibit

For years, the professional connection between Franz Johnston, a founding member of the Group of Seven; his daughter, the painter Frances-Anne Johnston; and her husband, painter and illustrator (and Maclean’s cover designer) Franklin Arbuckle, went unknown. Now, a new exhibit at the Ottawa Art Gallery (OAG) is bringing their work together for the first time. And there’s an entire gallery wall dedicated to Arbuckle’s most iconic Maclean’s covers.

A Family Palette opens at the OAG on September 10, and its goals are ambitious. Not only does it function as a feminist recovery project, highlighting the little-documented career of Frances-Anne, whose creative identity has often been overshadowed by that of her husband and father, but it also seeks to redefine the history of art in Canada. New to the conversation, which has long been dominated by themes of sprawling Canadian landscapes, is an illustration-specific narrative, advanced in large part thanks to the cover artwork Franklin Arbuckle did for Maclean’s over the span of two decades.

Ahead of the opening, we sat down with OAG curator Rebecca Basciano to talk about how the exhibit was born, what the research process was like and the important role Arbuckle’s Maclean’s covers played in shaping Canada’s national identity. This interview has been edited and condensed for length and clarity.

Give us a bit of backstory. How did this all begin?

In 2015, Brenda Firestone, the daughter of Ottawa art collectors O.J. and Isobel Firestone, shared a few works with me that her parents had always stored separately from their larger collection. They were by Frances-Anne, who I didn’t know much about at the time. After a bit of research, I realized her connection to Franz Johnston and Franklin Arbuckle and thought to myself, Oh, wow. Three artists from the same family doing completely different things. Very cool. That’s how it started, and I’ve been researching them ever since.

When did you discover the Maclean’s connection?

During the research process, one of our assistants, Meghan Ho, was looking through the Maclean’s online archive and found a cover Arbuckle did from September 1960 of a boat in water. She recognized it because we have the original in our collection, which until then had been misattributed. We didn’t know much about it, but when she linked the sketch and the final cover together, we gained all this information on the work that we never had before. And it just kept spiralling from there.

Franklin Arbuckle's original sketch of the Mackenzie Delta (pictured left) would later be used as the cover image for the September 1960 edition of Maclean's magazine (pictured right).

Franklin Arbuckle’s sketch of the Mackenzie Delta evolved into what would become the cover image for the September 1960 edition of Maclean’s magazine.

Franklin Arbuckle started doing commissions for Maclean’s at a pivotal time in Canadian history. Tell us about that.

Franklin Arbuckle did his first cover for the magazine in 1944. This was after the Second World War, and Canada was really trying to build up this idea of nationalism to separate themselves from the United States. Under the direction of the magazine’s editors at the time, Arbuckle’s task was to show Canadians what this national identity looked like through his covers. He did an amazing job of that. He set across the country and did covers of landscapes, people and iconic locations.

He even did the interior decoration of a Canadian Pacific Railway car, which is really neat because that’s how you got to all these places across the country that he’s depicting in his covers.

Franklin Arbuckle did over 100 covers for the magazine. How did you decide which would be featured in the exhibit?

That was hard. I just tried to find a variety, frankly. I also tried to add a little bit of Ottawa content because I was thinking about the audience and what they would like. Apart from that, I really wanted to show his skill. In one cover you can see people in a children’s hospital; another, which features their family cat Charcoal, is more abstract. And then there are some landscapes, too.

Tell us a bit more about how the theme of family plays out in the exhibit.

Arbuckle used his family as models for a lot of his works. For instance, his daughter Robin, who I interviewed and spoke to, was the subject of a few of his covers. In one, which we have the sketch for, she’s reading a book. We actually have the book she’s reading. Robin said it was still on the family bookshelf! It’ll be on display with the sketch and the final design. In another cover, she’s older and reading a magazine. So in some ways his covers show his family evolving over the years.

And actually his other daughter, Candace, remembers her mother, Frances-Anne, having to entertain messengers from Maclean’s who were waiting impatiently to dash to the printer with the very painting Franklin was still finishing upstairs. I thought that was a really great memory.

A Family Palette runs at the OAG until February 5, 2023, after which it will embark on a tour to the RiverBrink Art Museum in Niagara-on-the-Lake (April 21 to August 19, 2023) and then the Judith & Norman Alix Art Gallery in Sarnia (October 6, 2023, to March 17, 2024). 

Adblock test (Why?)



Source link

Continue Reading

Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

 on

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.

Continue Reading

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

 on


[unable to retrieve full-text content]

Ukrainian sells art in Essex while stuck in a warzone  BBC.com



Source link

Continue Reading

Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

 on

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

Source link

Continue Reading

Trending

Exit mobile version