Art at the Canadian National Exhibition 1905-1938Home
| Français | Introduction
by Sybille Pantazzi
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24 Paul George Konody (1872-1933), a well known art critic, was
the Art Director of the C. W. M. from 1916 to 1919. He was also
connected with the British Pavillon at the Venice Biennale. For
his role and influence in forming the most representative
collection of modern English paintings of its day, see R. F.
Wodehouse, "The C. W. M. collection at Ottawa," Studio
International, vol. 176 (1968), p. 235 and the same author's A
Check List of the War Collections (Ottawa: The National Gallery
of Canada, 1968), pp. 3 ff.
For information on the exhibition of the C. W. M. at the C. N. E., see
the C. N. E. (D. F. A.) catalogue, 1919, p. 7 and The Toronto
Daily Star, 28 August 1920, p. 9. No catalogues of the C. W. M.
exhibitions at the C. N. E. seem to have been issued. Instead, two
catalogues which were published "under the direction [of the]
Canadian War Records Office," apparently accompanied the
exhibitions of the C. W. M. in New York, Toronto, and Montreal in 1919
and 1920. They contain no indication of the cities where the
exhibitions were held, apart from advertisements of New York,
Toronto, and Montreal firms. For the itinerary of these exhibitions,
see the catalogue of the C. W. M. exhibition, held at the A. G. T.
October 1926 (p. 3) and Wodehouse, A Check List of the War
Collections (loc. cit.) (p. 5). The 1919 C. W. M. catalogue
(Ottawa: The National Gallery of Canada) lists a first group of 447
works by British and Canadian artists and is not illustrated. The
1920 catalogue (second group) lists 245 works and has fourteen
unnumbered illustrations which include works by Kennington, Paul
Nash, William Rothenstein, Bomberg, etc.
I am indebted to Major Wodehouse for his advice and help in
connection with this subject.
25 Saturday Night, 28 August 1926.
26 Franz Johnston, The Globe and Mail, 25 August 1934.
27 C. N. E. (D. F. A.) catalogue, 1913, p. 79.
28 Fourteen of his portraits of Spanish literary figures,
commissioned by Archer Milton Huntington, now in the collection of
the Hispanic Society, New York, are illustrated in Apollo (April
1972). pp. 310-317.
29 Christian Brinton, Impressions of the Art at the Panama -
Exposition (New York : John Lane, 1916), p. 142.
30 C. N. E. (D. F. A.) catalogue, p. 32.
31 H. G. Kettle, Saturday Night, 3 September 1938, pp. 2, 5
and 10 September 1938, p. 10.
32 Canadian Forum, vol. VII, no.80 (May 1927), p. 228.
Excerpts from other favourable Comments (The Globe and Mail and
as well as from unfavourable ones (The
Telegram and The Toronto Daily Star) on the Société
Anonyme exhibition, are quoted in the A. G. T. Bulletin, vol.
I, no.3 (November 1927), p. 4.
33 It had tripled since 1903, when the attendance was 527, 320.
These figures are from the C. N. E. Souvenir Catalogue and
Programme, 1927, p. 23.
34 H. B. Joseph, "The Exhibition," The Canadian
Magazine, vol. XLVII (1916), p. 289,
35. See also Gagen, op. cit., p. 86, who quotes the text of a
letter dated 25 April 1902, addressed to him by H. J. Hill, Manager
and Secretary of the C. N. E.
36 A typed "Inventory of Pictures purchased by the C. N. E. and
loaned to the A. G. T.," dated 1 June 1936, gives the value of
the works in all media deposited between 1912 and 1929 as
(A. G. O., Registrar's files).
37 The Toronto Daily Star, 4 November 1922.
38 In the captions for illustrations, Art Gallery of Ontario stands
for "Collection Art Gallery of Ontario. Gift of the Canadian
National Exhibition, 1965."
39 The seven paintings were by the following artists:
Georges-Henri Bréard, Paul Dougherty, R. G. Goodman, W. Lee-Hankey,
Alexandre Marcette, and Luis Francis Mora.
40 Apparently this trend has not been reversed; cf James
Lorimer, The Globe and Mail, 17 March 1973, p. 7, who remarks that today the
C. N. E. mainly at tracts the working class and
Next Page | Notes on the C. N. E.
(D. F. A.)
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