National Gallery of Canada / Musée des beaux-arts du Canada

Bulletin 22, 1973

Annual Index
Author & Subject

Foreign Art at the Canadian National Exhibition 1905-1938

by Sybille Pantazzi

Pages  1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  |  10  |  11 


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 
A. Y. 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5 R .F. Gagen, "Ontario Art Chronicle," unpublished typescript, 
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 Victory.

21 Le Salon Imaginaire. Bilder aus den grossen Kunstaustellungen der zweite Hâlfie des XIX Jahrhunderts (exhibition 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.

Next Page | Notes 24 to 40

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