THE McMICHAEL CANADIAN ART COLLECTION

Kleinburg, Ontario, Canada

Author and Photographer: NICOLA GORDON,
Publication Date: July 24, 2016

In 1966 Robert and Signe McMichael donated their collection of Canadian art to the Province of Ontario and with this gift all Canadians became the recipients of a national treasure. The original 194 paintings - mostly artworks of the Group of Seven and their contemporaries - has since grown to close to 6000 works that highlight the creative genius of a talented and diverse group. In addition, the gallery's 85,000 square feet now displays work by First Nations, Inuit, and contemporary Canadian artists and welcomes over 100,000 visitors per year.

Leave behind the small southern Ontario town of Kleinburg as you enter through imposing granite pillars.  Now enjoy a moment of pure bliss as a scene of stunning natural beauty unfolds in The McMichael gardens. Towering pines and spruce mirror the natural vegetation of our rugged north. A granite masterpiece stands in deference to the Canadian Shield that is such a symbol of our country and our connection to this land.  And as I walk alone a tall pine stands, bare branches outstretched as if to welcome. The day is cool and the rain drips with an unwavering and rhythmic beat. A shaft of light holds drops in momentary anticipation, and small dark pools grow amongst the pine needles.  I feel a spiritual connection to this place, as if I had come home to the pines, the serenity and the silent embrace of this small patch of wilderness.

Secrets nestle amongst the trees. A wanderer may come across the cemetery where six Group of Seven members have been laid to rest. Simple granite gravestones mark each site, with names roughly hewn. Steps away, but concealed amongst the trees, a sculpture garden delights with nine double-size bronze sculptures by Canadian artist Ivan Eyre.  Their simple shapes reveal the relationship between art and nature. More delights fit naturally in this landscape – sculpted wolves, the Tom Thomson woodland shack, and the distant vista of a fieldstone and log cabin.

Now step into the McMichael gallery where the stunning surrounds also mirror the work of Canada’s renowned Group of Seven. Their paintings focus primarily on the Canadian wilderness - with landscapes, pine trees and dark lakes playing a familiar role in their work.

The gallery received a $4.2 million grant from the provincial and federal governments to enhance the 100 acre surroundings and the result is perfection. Through a leafy canopy of pine and cedar and with the wind blowing cold north air, I can almost see an elderly fellow uncomfortably perched on a wooden stool. His brush is well coated in hues of autumn gold. His pallet holds the gift of a work of art in colours of the wilderness and his canvas awaits that first bold stroke.

While the gardens are glorious, the art housed within these walls will mesmerize!

I anticipated the exhibition - The Group of Seven - Revelations and Changing Perspectives with expectations of a visual feast but avoided further preconceptions. Inspired work by curators Sharona Adamowicz-Clements, Chris Finn and Chief Curator Katerina Atanassova did not disappoint. They delivered both a visual feast and a story that turned a collection of stunning art into a living breathing entity. The exhibition shares Group of Seven masterpieces and includes the work of artistic successors as they respond to their legacy. Atanassova explains this curative direction:
“For many artists of the following generations, the Group’s art provides a common ground for debate and exploration of topics ranging from national identity, regionalism, reaction to landscape, diversity and cultural differentiation.“  Marguerite Pilot of Deep River (Girl with Mulleins) by Yvonne McKague Housser illustrates this point by challenging the traditional barrier of a male-only artistic collaboration associated with The Group and asserting the validity of women as artists.

The exhibition presents a stunning body of work and rarely am I able to pick a favorite amongst such treasures. I admit though that there was one piece that I stood before much longer than any other. I was mesmerized by the simplicity of line and jeweled hues of 'Mountains and Lake' by Lawren Harris and realized a serious character flaw that day. I momentarily lost any philanthropic tendency. I cared not for sharing of this beautiful piece with all Canadians. I just wanted to take it home to live with me. ‘Mountains and Lake’ was simply captivating!

The Inuit Traditions exhibition and each simple and evocative piece immerses gallery visitors in the essence of Inuit life, from traditions, to legends and culture.

Observe with the eye of an art historian or a casual appreciator of stories through art and you will learn about day-to-day life and the challenge of living in the far North. Kayak and Seal in Hole by Suzanne Tupitnerk Mablik reveals the essential role of the kayak and the seal in life and sustenance for the Inuit. One small sculpture of the same theme was a typical toy for Inuit children and highlights these items as symbols of Inuit culture.

The Migration by Joe Talirunili, and the use of stone, sealskin and wood provides insight into the artistic mediums available to Inuit artists from their natural environment.

A personal favourite, as used for The Enchanted Owl by Kenojuak Ashevek speaks more about my appreciation of an artistic method than the result. The stonecut method fashions an intricate stencil on relatively soft soapstone. I imagine the endless hours of dedicated service that went into producing art, and marvel at the outcome of a challenging artistic medium.

A steady climb toward the rough-hewn timbers of the gallery is enhanced by a spectacular view. The wall is really just an immense window framing a truly Canadian scene.  I drink in the richness of the forest that must have been common in the ancestral world of our First Nations and I appreciate the powerful connection this has with the exhibition - Legends: Norval Morrisseau and Anishinabek “Woodland School” of Artists.

Tour guide Maria-Teresa Pagliaroli spoke with pride about Norval Morrisseau’s stunning work. “He is a huge draw at the gallery” she said. Morrisseau is credited as the First Nations artist who established a style called the Woodland School. Artist's Wife and Daughter by Morriseau shows the features of this very distinctive style - bright shapes of colour contained within black lines. Norval’s wish to communicate through colour is evident in vibrant pieces that portray aspects of spirituality and life.

While Morriseau’s style earned him the title “Picasso of the North”, I felt drawn to the equally stunning ‘Spirit Fish’ by Carl Ray. This sacred and powerful legendary creature is depicted in intricate detail and the black outlines and bold colour typical of the Woodland School.

Pluralities/Polarities 1950s-1990s: Selections from the McMichael Collection illustrates development of Canadian artistic expression through the second half of the twentieth century with a style that became known as contemporary art.  Curator Sharona Adamowicz-Clements shows the work of abstractionists and realists in an evocative exhibit that brings together these two diverse schools of thought.

Dulcie Foo Fat’s “Kananaskis Wildflower” gives a stunning abstract rendition. While the canvas is full of action on every inch of space, this piece is easy to enjoy. Following an exploration of the work my eye came to rest comfortably on wildflowers that grab and hold your focus with shades of red and yellow. It was another work of art that was hard to leave behind!

A day at the McMichael Canadian Art Collection is never quite complete. There is much to see in those timbered walls, a wealth of creative energy infused in the artwork, and a sense of serenity and connectedness emanating from the wilderness surroundings. Whether art expert, or occasional appreciator, this experience will feed your soul.

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