Art at the Canadian National Exhibition 1905-1938Home
| Français | Introduction
by Sybille Pantazzi
| 8 | 9
I should like to express my thanks to Mrs Joan Murray, Curator of
Canadian Art, formerly A. G. O., for her many valuable suggestions; to
Mrs Dorothy Hoover, the daughter of F. S. Haines, for her patience in
answering questions and for her encouragement, and to Mr Herbert
Staples, former librarian of The Telegram, for investigating
the present state of the C. N. E. Archives. The cooperation of my
colleagues at the A. G. O., and of the staffs of the M. T. C. L. and of
the Municipal Library, is gratefully acknowledged.
1 A. Y. Jackson, A Painter's Country: The Autobiography of
Jackson (Toronto: Clarke, Irwin & Company Limited, 1958), p.
27. See also Joan Murray, The Art of Tom Thomson (exhibition
catalogue) (Toronto: Art Gallery of Ontario, 1972), p. 24.
2 Reasons for a New Art Gallery at the Industrial Exhibition,
with Designs: A Report from the Ontario Society of Artists to the
Industrial Exhibition Association (Toronto: 1899), p. 2.
3 Ibid., p. I.
4 O. C. J. Withrow, The Romance of the C. N. E. (Toronto:
Reginald Saunders, 1936), p. 90. (The section on Art, pp. 132-134
is by F. S. Haines.)
5 R .F. Gagen, "Ontario Art Chronicle," unpublished
n. d. (before 1926), pp. 85, 88 (the section on
"Industrial Exhibitions 1878-1915"), M. T. C. L. copy.
6 O. S. A. (A. R.), 1903.
7 This building was demolished in 1955 after the roof collapsed.
8 Gagen, op. cit., pp. 88, 89.
9 Withrow, op. cit., p. 90.
10 I am very grateful to Professor Douglas S. Richardson of the
University of Toronto for his advice and suggestions concerning the
architecture of the art galleries.
11 Gagen, op. cit., p. 92.
12 The demolition was executed by Tepperman and Sons between 13
March and 11 April 1973 at an approximate cost of $ 6,000. Only the
tablets (of embossed sheet metal) bearing the names of the artists
were preserved by the C. N. E.
13 In the history of the Art Gallery of Toronto included in the Inaugural
Catalogue (1926, p. 15), it is stated that from June 1913 to
November 1925, just under 400,000 visitors attended 110
exhibitions. However, this number included a high proportion of
exhibitions of Canadian art, as well as the annual shows of the R.
C. A., the O. S. A., and other Canadian art societies. The Inaugural
Exhibition itself was the first important international exhibition,
both in quality and quantity , held there.
14 M. O. Hammond, Saturday Night, August 1927.
15 Pearl McCarthy, The Globe and Mail, 30 August 1937.
16 Ibid., 21 August 1935.
17 Letter, in the O. S. A. Archives, from J. O. Orr, Manager and
Secretary of the C. N. E., to R. F. Gagen, 28 March 1911.
18 Gagen, op, cit., pp. 91, 92.
19 O. S. A. (A. R.), 1907. A note in the C. N. E. (D. F. A.) catalogue'
1928, reiterates this policy. It states that the exhibition
"was designed to give an adequate idea of the work being done
at the present time in the countries represented."
20 The Constant and the Max are now in the Museum of Fine Arts,
Montreal; Constant's Moorish Conquerer Surveying the Spoils of
a Christian City under the title The Alhambra, Day after a
21 Le Salon Imaginaire. Bilder aus den grossen Kunstaustellungen der zweite Hâlfie des XIX Jahrhunderts
catalogue) (Berlin: Akademie der Künste, 1968). Devoted to the
giants of official art in the second half of the nineteenth century,
this major exhibition represents the culmination, so far, of the
revival of salon art.
22 Pearl McCarthy, The Globe and Mail, 25 August 1935.
23 Mary Clive, The Day of Reckoning (London: MacMillan,
1964), p. 104.
| Notes 24 to 40
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