This book distills my more than half a century’s exposure to Canadian military art and history with the goal of initiating a new conversation about war art in Canada. It is dedicated to art historians Maria Tippett and Joan Murray and to historian John MacFarlane, who together built the foundations for this study.
I would like first to acknowledge the influence of my father, historian Gerald S. Graham, who, during the Second World War, served with the Royal Canadian Naval Volunteer Reserve and, subsequently, in the Canadian Army’s Historical Section in London, England. There he met my mother, Mary Greey, who worked in Allied Intelligence in the United Kingdom, United States, and Canada during the conflict. A sculptor, painter, and potter, she personally knew several of the artists who feature in this book. She introduced me to her friend Pegi Nicol MacLeod’s art and it was MacLeod’s paintings that first took me to the Canadian War Museum and an eventual twenty-three-year career as its art curator. The museum’s extraordinary art collection and the wonderful people I met there sustain me to this day. For the notable attention that I pay to Indigenous war art I have to thank both my son-in-law Pierre Sabourin and the life-changing work of the Truth and Reconciliation Commission of Canada. Over a period of five years both quietly enabled me to reconsider my own family’s five-century history of colonization and, in consequence, my approach to this book.
Special thanks are due to the sponsor of this book, Blake Goldring. It would not exist without him. The ACI team have been quite amazing and what they are doing for Canadian art is inspiring. Consequently, I owe a huge debt of gratitude to the remarkable Sara Angel, the indefatigable Jocelyn Anderson, and superb editor Rosemary Shipton, not to mention Stephanie Burdzy, Michael Rattray, Emily Putnam, Kendra Ward, and Simone Wharton.
Books such as this require detailed detective work to check facts and locate sources and images, not to mention identify dates, locations, materials, and dimensions. I would therefore like to thank the following individuals, many from national, provincial, and municipal institutions, who kindly responded to my questions over the course of its writing: Fiona Anthes, Kirsten Appleyard, Maggie Arbour, David Avery, Matt Baker, Amy Brandon, Rob Brandon, Andrew Burtch, Cyndie Campbell, Mai-yu Chan, Tim Cook, Rory M. Cory, Michele Dale, Victoria Dickenson, Tim Foran, Dale Gervais, Elaine Goble, John Graham, Samuel Graham, Linda Grussani, Greg Hill, Andrew Horrall, Barb Hunt, Shannyn Johnson, Farouk Kauspales, Mary Kavanagh, Gertrude Kearns, Shannon Kilburn, Guislaine Lemay, Mary Ann Liu, Meredith Maclean, Peter MacLeod, Lee-Ann Martin, Sanaz Mazinani, Kaitlin McCormick, Duncan McDowall, Asunción Miralles de Imperial y Pasqual del Pobil, Geneviève Morin, John Moses, Jeff Noakes, Dave O’Malley, Terry Mosher, Peter Neary, Christina Parsons, Caroline Pearson, Bita Pourvash, Lela Radisevic, Alexandre Reeves, Leslie Reid, Paul Robertson, Sonny Ankjær Sahl, Alain Simard, James Smith, René St-Pierre, Lori Temple, Jeff Thomas, Virtue Tran, Chris Van Hezewyk, Scott Waters, Paula Wilson, Morgan Wright, Zoe Yang, and Robyn Zolnai. I am also indebted to the many institutions across Canada that provided the superb images that illuminate this book, in particular the Canadian War Museum.
From the ACI
The Art Canada Institute gratefully acknowledges the generosity of the Title Sponsor of this book, Blake C. Goldring, CM, MSM, CD.
We thank the Founding Sponsor of the Art Canada Institute: BMO Financial Group.
The ACI is honoured to be presenting this book with the Canadian War Museum as a cultural partner, and particularly wishes to thank Robyn Jeffrey, Shannyn Johnson, Manuel Lapensée-Paquette, Meredith McLean, Drew Oliver, and Susan Ross.
The ACI also thanks the other Title Sponsors of the 2021–2022 Canadian Online Art Book Project: Marilyn and Charles Baillie; Alexandra Bennett in memory of Jalynn Bennett; Kiki and Ian Delaney; Lawson Hunter; the Honourable Margaret Norrie McCain; The Stonecroft Foundation for the Arts; and Trinity Development Foundation.
We thank the 2021–2022 Season Sponsors of the Art Canada Institute: the Connor, Clark & Lunn Foundation; The Scott Griffin Foundation; The McLean Foundation; and The Jack Weinbaum Family Foundation.
We are grateful to the Art Canada Institute Leaders: Anonymous; Anonymous; Alexandra Baillie; John and Katia Bianchini; Christopher Bredt and Jamie Cameron; Linda and Steven Diener; Michelle Koerner and Kevin Doyle; Joan and Martin Goldfarb; Tim and Darka Griffin; Lawson Hunter; Richard and Donna Ivey; The Michael and Sonja Koerner Charitable Foundation; Alan and Patricia Koval Foundation; McCarthy Tétrault LLP; The McLean Foundation; Bill Morneau and Nancy McCain Foundation at Toronto Foundation; Partners in Art; Sandra and Jim Pitblado; Tim and Frances Price; Gerald Sheff and Shanitha Kachan Charitable Foundation; The Donald R. Sobey Foundation; The Stonecroft Foundation for the Arts; TD Bank Group; Fred Waks; Bruce V. and Erica Walter; Eberhard and Jane Zeidler; and Sara and Michael Angel.
Appreciation goes as well to our Patrons: Anonymous; Malcolm Burrows and Barbara Dick; Debra and Barry Campbell; Anne-Marie Canning; Cowley Abbott Fine Art; Lilly Fenig; Jane and Michael Freund; Leslie S. Gales and Keith Ray; Roger and Kevin Garland; The Lindy Green Family Charitable Foundation; Franca Gucciardi, matched by McCall MacBain Foundation; Jane Huh; Elaine Kierans and Shawn McReynolds; Trina McQueen; Judith and Wilson Rodger; Fred and Beverly Schaeffer; Michael Simmonds and Steven Wilson; Andrew Stewart and Kathy Mills; Carol Weinbaum; and Robin and David Young.
Gratitude goes as well to our Founding Patrons, who supported the Art Canada Institute in its first year: Jalynn Bennett, The Butterfield Family Foundation, David and Vivian Campbell, Albert E. Cummings, The Fleck Family, Roger and Kevin Garland, Glorious and Free Foundation, Gluskin Sheff + Associates, The Scott Griffin Foundation, Gershon Iskowitz Foundation, The Michael and Sonja Koerner Charitable Foundation, Michelle Koerner and Kevin Doyle, Phil Lind and Ellen Roland, Sarah and Tom Milroy, Partners in Art, Sandra L. Simpson, Stephen Smart, Nalini and Tim Stewart, and Robin and David Young.
The ACI wishes to thank the Agnes Etherington Art Centre, Kingston (Jennifer Nicoll); Áísínai’pi (or Writing-on-Stone) Provincial Park, Alberta (Aaron Domes); Archives of Manitoba, Winnipeg; Archives of Ontario, Toronto (Serge Paquet); Art Gallery of Greater Victoria (Stephen Topfer); Art Gallery of Hamilton (Christine Braun); Art Gallery of Nova Scotia, Halifax (Shannon Parker, Troy Wagner); Beinecke Rare Book and Manuscript Library, Yale University, New Haven (Rebecca Aldi, Angela Moore); Bomber Command Museum, Nanton; British Museum, London (Lucia Rinolfi); The Broad Museum, Los Angeles (Jeannine Guido); Canadian Museum of History, Gatineau (Shannon Mooney, Erin Wilson); Canadian Press Images (Andrea Gordon); Canadian Research Knowledge Network (Émilie Lavallée-Funston); Christopher Cutts Gallery, Toronto (Christopher Cutts, Julia Marcello); Chronicle Herald, Halifax (Rachel Cartwright); Cinémathèque Québécoise, Montréal (Nicolas Dulac, Antoine Prillieux); City of Toronto Art Collection (Neil Brochu); City of Toronto Parks (Catherine Machado); City of Vancouver Archives; City of Welland Heritage Council (Brenda Larouche, Nora Reid, Jane Walker-Scott, Daniella Wright); Confederation Centre of the Arts, Charlottetown (Kevin Rice); Conundrum Press, Wolfville (Sarah Sawler); Denver Art Museum (Meghan Shaw); Department of Canadian Heritage, Ottawa (Devin Brazeau); Department of National Defense, Ottawa; Dorset Fine Arts (David Hannan); doublespace photography (Younes Bounhar); Edward Burtynsky Studio (Edward Burtynsky, Marcus Schubert, Alanna Joanne Smith); Esplanade Arts and Heritage Centre Museum, Medicine Hat (Timothy McShane); Estate of Andre Biéler (Philippe Baylaucq); Estate of Paraskeva Clark (Clive Clark and Panya Clark Espinal); Estate of Allan Collier (Ian Collier); Estate of Greg Curnoe (Sheila Curnoe); Estate of Lawren S. Harris (Stew Sheppard); Estate of Yousuf Karsh (Julie Grahame); Estate of Marion Long; Estate of Kazuo Nakamura (Elaine Nakamura); Estate of Daphne Odjig (Stan Somerville); Estate of Hilda Woolnough (John Hopkins); Fondation Armand-Vaillancourt (Joanne Beaulieu); Founders’ Gallery, The Military Museums, Calgary (Dick Averns); Friends of Guild Park Toronto; Gershon Iskowitz Foundation (Nancy Hushion); Getty Images; Gilcrease Museum, Tulsa; Glenbow Museum, Calgary (Melanie Kjorlien); Global Affairs Canada (Leah Iselmoe, Kerry Goodfellow); Globe and Mail Archives; Henry and Ellen Belkin Art Gallery, Vancouver (Teresa Sudeyko); Historic Royal Palaces (Laura Hutchinson, Annie Heron); Historic Sites Association of Newfoundland and Labrador (Andrea MacDonald); Horizon Health Network New Brunswick; House of Commons, Ottawa (Beuris Lahaie, Rheian Shannon); Huntington Library and Art Gallery, San Marino; Jeff Wall Studio (Cora Hall, Jeff Wall); Kent Monkman Studio (Carolyn Gordon, Adrien Hall, Kent Monkman); Library and Archives Canada/The Brechin Group; Lord Cultural (Dov Goldstein); Maclean’s Archives; Masters Gallery Ltd., Calgary (Ida Nagy); McCord Museum, Montreal (Sophie Granger, Laurence W.); Memorial University Digital Archive, St. John’s; Moriyama and Teshima Architects (Katie Weber); Morris and Helen Belkin Art Gallery, Vancouver (Teresa Sudeyko); National Film Board of Canada, Montreal (Alexandra Hubert); National Gallery of Canada, Ottawa (Raven Amiro); New Brunswick Museum, Saint John (Leigh Ann Allen, Peter Larocque, Jennifer Longon, Julie Meade); Nicholas Metivier Gallery, Toronto (Carly Shiff); Paul Cummins Ceramics (Paul Cummins, Elyssa Fagan); Print Refinery, Winnipeg (Camryn Clark); Public Art Bureau, Montreal; Red Ochre Gallery, St. John’s (Brenda McClellan); The Rooms Corporation of Newfoundland and Labrador, Provincial Museum Division (Lori Temple); Royal Canadian Mint, Ottawa (Alesia Rowell); Royal Danish Library, Copenhagen (Helle Brünnich Pedersen, Signe Pagh Milling); Royal Museum of Fine Arts Belgium, Brussels; Royal Ontario Museum, Toronto (Laura Fox, Nicola Woods); Ryerson Image Centre, Toronto (Gaëlle Morel, Feven Tesfamariam); SFU Galleries, Burnaby (Christina Hedlund); SOCAN (Gilles Lessard); St. Paul’s Cathedral, London (Simon Carter); Stephen Bulger Gallery, Toronto (Sasha Furlani, Robyn Zolnai); Studio Libeskind (Amanda de Beaufort); Tag Art Gallery, St. Catherine’s (Frank Goldspink, Tom Goldspink); Susan Hobbs Gallery, Toronto (Susan Hobbs); Tate Gallery, London (Fintan Ryan); Toronto Dominion Bank Archives (Stuart Keeler); Toronto Public Library (Beau Levitt); Torstar Syndicate (Mariya Vadera); University of British Columbia Library, Vancouver (Weiyan Yan); University of Cambridge Museum of Archaeology and Anthropology (Wendy Brown, Melanie Norton Hugow); Veterans Affairs Canada (Karly Thomsen); Walter Phillips Gallery, Banff (Jacqueline Bell); Woodland Cultural Centre, Brantford (Tara Froman); Aislin, Bill Badzo, Karen Bailey, Mary Anne Barkhouse, Sarah Beck, Rebecca Belmore, Luben Boykov, Edward Burtynsky, Geoff Butler, David Collier, Don Connolly, Rosalie Favell, nichola feldman-kiss, Elaine Goble, Jamelie Hassan, Leslie Hossack, Robert Houle, Barb Hunt, Allan Harding MacKay, Mary Kavanagh, Gertrude Kearns, Thomas Kneubühler, Shaney Komulainen, Andrew Kulin, Guy L’Heureux, Maskull Lasserre, Johnnene Maddison, Sanaz Mazinani, Shelley Niro, Leslie Reid, JoAnne Rivers, Elizabeth Salomons, John Scott, Riley Snelling, Trevor Solway, Charles Stankievech, Barbara Steinman, Bruce Stewart, Adrian Stimson, Norman Takeuchi, Althea Thauberger, Jeff Thomas, Richard Tompkins, Bev Tosh, Scott Waters, and Andrew Wright.
The ACI also recognizes the additional private collectors who have given permission for their works to be published in this edition.
Image Sources
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
Credits for Cover Images
Rebecca Belmore, Ayum-ee-aawach-Oomama-mowan: Speaking to Their Mother, 1991. (See below for details.)
Vernon March, The Response, National War Memorial, 1926–32. Photo credit: Andrew Kulin.
Arthur Lismer, Sketch for Minesweepers and Seaplanes, 1917, oil on art board, 34.8 x 26.7 cm. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-6421). Courtesy of the Canadian War Museum.
Benjamin West, The Death of General Wolfe, 1770. (See below for details.)
Credits for Banners
Preface: Edward Zuber, Long Day at Doha, 1991. (See below for details.)
Historical Overview: Paul Kane, The Death of Omoxesisixany (Big Snake), 1849–56. (See below for details.)
Key Works: Arthur Lismer, Convoy in Bedford Basin, c.1919. (See below for details.)
Critical Issues: Geoff Butler, Happy Days Are Here Again, 1983. (See below for details.)
Materials and Techniques: Veronica Foster, an employee of John Inglis Co. Ltd. and known as “Ronnie, the Bren Gun Girl” posing with a finished Bren gun in the John Inglis Co. Ltd. Bren gun plant, Toronto, Ontario, Canada, 1941. (See below for details.)
Sources and Resources: Samuel de Champlain, Champlain Fighting the Iroquois, 1609, 1613. (See below for details.)
Where to See: Vernon March, The Response, National War Memorial, 1926–32. Photo credit: Andrew Kulin.
Copyrights and Credits: Henrietta Mabel May, Women Making Shells, 1919. (See below for details.)
Credits for works and photographs
Afghanistan #132A, 2002–7, by Allan Harding MacKay. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20070177-041). Courtesy of the Canadian War Museum.
Alex Colville, 1946, by Malak Karsh. George Metcalf Archival Collection, Canadian War Museum, Ottawa (20040082-03). Courtesy of the Canadian War Museum.
Allan Harding MacKay destroying his work in protest on Parliament Hill, Ottawa, 2012, by Andrew Wright. Courtesy of Andrew Wright.
Allan Harding MacKay destroying his work in protest on Parliament Hill, Ottawa, 2012, by Andrew Wright. Courtesy of Andrew Wright.
Allegory of War, c.1912–17, by Alfred Laliberté. Collection of the National Gallery of Canada, Ottawa (17188). Courtesy of the National Gallery of Canada.
Back View of the Church of St. Eustache and Dispersion of the Insurgents, 1840, after Charles Beauclerk. Baldwin Collection of Canadiana, Toronto Public Library, Gift of J. Ross Robertson (JRR1880). Courtesy of the Toronto Public Library.
Ball-headed Club, mid 1800s. The Chiefswood Collection, Royal Ontario Museum, Toronto, Gift of Miss Evelyn H.C. Johnson (922.1.20). Courtesy of the Royal Ontario Museum.
The Battlefield after a Canadian Charge, 1916, by William Ivor Castle. George Metcalf Archival Collection, Canadian War Museum, Ottawa (CWM 19920044-841). Courtesy of the Canadian War Museum.
Bergendal Kopje, n.d., by Edward Whipple Bancroft Morrison. Collection of the Canadian War Museum, Ottawa (CWM 20020184-006). Courtesy of the Canadian War Museum.
Big Snake, Chief of the Blackfoot Indians, Recounting His War Exploits to Five Subordinate Chiefs, c.1851–56, by Paul Kane. Collection of the National Gallery of Canada, Ottawa, transfer from the Parliament of Canada, 1888 (22). Courtesy of the National Gallery of Canada.
Bluenose Squadron Lancaster X for Xotic Angel, 1945, by Albert Cloutier. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-1700). Courtesy of the Canadian War Museum.
Boat Drill, Emergency Stations, 1945, by Molly Lamb Bobak. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-1557). Courtesy of the Canadian War Museum.
Bodies in a Grave, 1946, by Alex Colville. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-2033). Courtesy of the Canadian War Museum.
Borain Landscape, 1881, by Constantin Meunier. Collection of the Royal Museum of Fine Arts of Belgium, Brussels (10000 / 719).
Box with Quilled Battle Scene, 1904, by Mesaquab (Jonathan Yorke). Normal School Collection, Royal Ontario Museum, Toronto (904.9.1). Courtesy of the Royal Ontario Museum.
The British Commonwealth in Arms, 1918, H.M. Brock. H & C Graham Ltd. Collection of the Canadian War Museum, Ottawa (CWM 19900348-004). Courtesy of the Canadian War Museum.
Brock’s Monument, 1859, by William Thomas. Courtesy of Wikimedia Commons. Photo credit: Richard Tompkins, 2015.
The Brooding Soldier (St. Julien Memorial), 1923, by Frederick Clemesha. Courtesy of Veteran’s Affairs Canada, Ottawa.
Burial at Sea, 1944, by Harold Beament. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0993). Courtesy of the Canadian War Museum.
Burnt Country, Evening, 1914, by Tom Thomson. Collection of the National Gallery of Canada, Ottawa (4661). Courtesy of the National Gallery of Canada.
A Caledon Farm in May, 1945, by Paraskeva Clark. Sampson-Matthews Collection, National Gallery of Canada Library and Archives, Ottawa. Courtesy of the National Gallery of Canada Library and Archives.
Canada and the Call, 1914, by J.E.H. MacDonald. Collection of the Canadian War Museum, Ottawa (CWM 19940018-001). Courtesy of the Canadian War Museum.
Canada’s Golgotha, 1918, by Francis Derwent Wood. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0797). Courtesy of the Canadian War Museum.
Canada’s Grand Armada Leaving Gaspé Bay, n.d., by Frederick Challener. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19910216-362). Courtesy of the Canadian War Museum.
Canada’s New Army Needs Men Like You, c.1941–42, by Eric Aldwinckle. Collection of the Canadian War Museum, Ottawa (CWM 20010129-0611). Courtesy of the Canadian War Museum.
Canadian A.P.C. Patrol – Old City, Nicosia, 1974, 1975, by Colin Williams. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19750563-002). Courtesy of the Canadian War Museum.
Canadian Artillery in Action, 1918, by Kenneth Forbes. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0142). Courtesy of the Canadian War Museum.
Canadian National Vimy Memorial, 1921–36, by Walter S. Allward. Courtesy of Veteran’s Affairs Canada, Ottawa. Photo credit: Dean MacDonald, Veterans Affairs Canada.
Canadian picture being painted by Major Jack, c.1917. Collection of Library and Archives Canada, Ottawa (3361281). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Canadian Troops Passing through Ypres, Showing the Cloth Hall and the Cathedral, November 1917, by William Rider-Rider. Collection of Library and Archives Canada, Ottawa (3194492). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Canadian War Memorials Exhibition, 1919. Collection of the Canadian War Museum, Ottawa (CWM 19870226-001). Courtesy of Canadian War Museum.
Canadian War Memorials Exhibition Royal Academy, 1919, by Edward McKnight Kauffer. Collection of Canadian War Museum, Ottawa (CWM 19910001-479). Courtesy of the Canadian War Museum.
Canadian War Museum, 2005, designed by Raymond Moriyama. Courtesy of Moriyama and Teshima Architects, Toronto/Ottawa. Photo credit: Harry Foster.
Canadian War Records camera battery going into action, October 1917, photographer unknown. George Metcalf Archival Collection, Canadian War Museum, Ottawa (CWM 19920085-880). Courtesy of the Canadian War Museum.
Canadians at the Battle of Paardeberg, February 1900, 1901, by Arthur Hider. Collection of the Canadian War Museum, Ottawa (CWM 19850411-001). Courtesy of the Canadian War Museum.
The Canadians Opposite Lens, 1918–60, by Augustus John. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20110067-001). Courtesy of the Canadian War Museum.
Canadiens-Francais, Enrolez Vous! (French Canadians, Enlist!), c.1914–18. Collection of the Canadian War Museum, Ottawa (CWM CWM 19750046-009). Courtesy of the Canadian War Museum.
Canadiens suivez l’exemple de Dollard des Ormeaux, 1915–18. Collection of the Canadian War Museum, Ottawa (CWM 19920142-002). Courtesy of the Canadian War Museum.
Cane Made by an Austrian Prisoner of War, 1915. Collection of the Canadian War Museum, Ottawa (CWM 20130339-001). Courtesy of the Canadian War Museum.
Captain Guy Drummond, after April 1915, by Robert Tait McKenzie. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19780063-001). Courtesy of the Canadian War Museum.
Captain Will Ogilvie, an official war artist of the Canadian Army, with some of his paintings at a Canadian War Art Exhibition, London, England, February 9, 1944, by Earnest Edgar Strathy Smith. Collection of Library and Archives Canada, Ottawa (3219552). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Champlain Fighting the Iroquois, 1609, 1613, by Samuel de Champlain. Collection of the Beinecke Rare Book and Manuscript Library, Yale University, New Haven. Courtesy of the Beinecke Rare Book and Manuscript Library, Yale University.
Charles Fraser Comfort, 1945, by Florence Wyle. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19760583-002). Courtesy of the Canadian War Museum.
Chief Oshawana (John Naudee), 1858. Collection of Library and Archives Canada, Ottawa (3358509). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Christmas Eve in Giessen Camp, 1916, by Arthur Nantel. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0493). Courtesy of the Canadian War Museum.
The Cloth Hall, Ypres, c.1918, by James Kerr-Lawson. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20010022-005). Courtesy of the Canadian War Museum.
Colonel W. A. Bishop, V.C., c.1918, by Clare Sheridan. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0658). Courtesy of the Canadian War Museum.
Commemorative Plate, n.d. Collection of the Canadian War Museum, Ottawa (CWM 19810405-003). Courtesy of the Canadian War Museum.
Convoy in Bedford Basin, c.1919, by Arthur Lismer. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0344). Courtesy of the Canadian War Museum.
Cookhouse, Witley Camp, 1918, by Anna Airy. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0007). Courtesy of the Canadian War Museum.
A Copse, Evening, 1918, by A.Y. Jackson. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0186). Courtesy of the Canadian War Museum.
Cover of Art for War and Peace, 2015, by Ian Sigvaldason and Scott Steedman.
Cover of Blackfoot War Art: Pictographs of the Reservation Period, 1880–2000, c.2007, by L. James Dempsey.
Cover of The Bomb in the Wilderness: Photography and the Nuclear Era in Canada, 2020, by John O’Brian.
Cover of The Canadian War Pictorial, No. 3, 1917. Collection of Library and Archives Canada, Ottawa (135114). Courtesy of the Canadian Research Knowledge Network for Canadiana.
Cover of the catalogue for Terms of Engagement: Averns, feldman-kiss, Stimson, 2014, by Christine Conley and Kirsty Robertson.
Cover of I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton, 2020, by Irene Gammel.
Cover of Reading the Wampum: Essays on Hodinöhsö:ni’ [Haudenosaunee] Visual Code and Epistemological Recovery, 2014, by Penelope Myrtle Kelsey.
Crankshaft for Corvette, Marine Engine, 1942, by Carl Schaefer. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20110124-001). Courtesy of the Canadian War Museum.
David’s Goodbye, 2008, by Elaine Goble. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20130026-011). Courtesy of the Canadian War Museum.
The Death of General Wolfe, 1770, by Benjamin West. Collection of the National Gallery of Canada, Ottawa, Gift of the 2nd Duke of Westminster to the Canadian War Memorials, 1918; transfer from the Canadian War Memorials, 1921 (8007). Courtesy of the National Gallery of Canada.
The Death of Omoxesisixany (Big Snake), 1849–56, by Paul Kane. Collection of the Royal Ontario Museum, Toronto, Gift of Sir Edmund Osler (912.1.53). Courtesy of the Royal Ontario Museum.
Delphine James Pegouske Themean, 2002, by Johnnene Maddison. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20080071-004). Courtesy of the Canadian War Museum.
Design for the Canadian Volunteer Service Medal, n.d., by Charles Comfort. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19760583-151). Courtesy of the Canadian War Museum.
Design for the Canadian Volunteer Service Medal, n.d., by Charles Comfort. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19760583-154). Courtesy of the Canadian War Museum.
Dismembering U Uncle, c.1943-45, by Aba Bayefsky. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19860180-008). Courtesy of the Canadian War Museum.
Drowning Sailor, 1946, by Jack Nichols. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-4288). Courtesy of the Canadian War Museum.
Error, 1993, by Allan Harding MacKay. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19930100-002). Courtesy of the Canadian War Museum.
Face Burns, Sgt. James F. Gourley, RAF, 536215, 1945, by Charles Goldhamer. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-3890). Courtesy of the Canadian War Museum.
Fangs of Fire, 1944–45, by Floyd Rutlege. Collection of the Canadian War Museum, Ottawa (CWM 19460010-007). Courtesy of the Canadian War Museum.
A Fight Between the Haida and the Tsimshian, c.1896, by Frederick Alexcee. Collection of the Canadian Museum of History, Gatineau (VII-C-1805). Courtesy of the Canadian Museum of History.
First Flight, 1944, by Tom Hodgson. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19970044-006). Courtesy of the Canadian War Museum.
The Flag, 1918, by John Byam Liston Shaw. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0656). Courtesy of the Canadian War Museum.
For Industrial Expansion, Buy Victory Bonds, c.1917, by Arthur Keelor. Collection of the Canadian War Museum, Ottawa (CWM 19720121-132). Courtesy of the Canadian War Museum.
For What?, 1918, by Frederick H. Varley. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa, transferred from National Gallery of Canada, 1971 (19710261-0770). Courtesy of the Canadian War Museum.
Freeze, 1978, by Edward Zuber. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19890328-012). Courtesy of the Canadian War Museum.
General Currie and General MacBrien at a Practice Attack near the Canadian Front, 1917, by William Rider-Rider. George Metcalf Archival Collection, Canadian War Museum, Ottawa (CWM 19920085-826). Courtesy of the Canadian War Museum.
German Prisoners, c.1919, by Frederick Varley. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0807). Courtesy of the Canadian War Museum.
“Girl Takes Drastic Step!,” November 22, 1942, from W110278: The Personal War Records of Private Lamb, M., 1942–45, by Molly Lamb Bobak. Collection of Library and Archives Canada, Ottawa (e006078933_s1-v8). Courtesy of Library and Archives Canada/The Brechin Group Inc.
The Globe and Mail, September 11, 1939. Globe and Mail Archives.
Gravestones of Jewish soldiers at the Moro River Canadian War Cemetery in Ortona, Italy, March 24, 2007. Courtesy of Alamy. Photo credit: Lars Halbauer.
The “Great War” Deeds of Miistatosomitai (Mike Mountain Horse) (1888–1964), n.d., by Eskimarwotome (Ambrose Two Chiefs). Collection of Esplanade Arts & Heritage Centre Museum, Medicine Hat (B52.111). Courtesy of Esplanade Arts & Heritage Centre.
Grief, 1918, by Frances Loring. Collection of the National Gallery of Canada, Ottawa (40642). Courtesy of the National Gallery of Canada.
Ground crew with Notorious Nan, August 1944, photographer unknown, Bomber Command Museum, Nanton.
Guard Post – Refuelling Stop – Sinai, 1975, by Geoffrey Jamieson. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19750564-004). Courtesy of the Canadian War Museum.
Halifax Harbour (North and Barrington Streets), c.1944, by Leonard Brooks. Sampson-Matthews Collection, National Gallery of Canada Library and Archives, Ottawa. Courtesy of the National Gallery of Canada Library and Archives.
Helmet (Haida), 1700–1898. Collection of the Canadian Museum of History, Gatineau (VII-B-1543). Courtesy of the Canadian Museum of History.
He Won’t Be There. Be Sure You March Oct. 26 Against the War in Vietnam, 1968. Collection of Library and Archives Canada, Ottawa (3000681). Courtesy of Library and Archives Canada/The Brechin Group Inc.
The Hitler Line, 1944, by Charles Comfort. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-2203). Courtesy of the Canadian War Museum.
How Do We Put the Genie Back in the Bottle?, c.1945, by John Collins. Collection of the McCord Museum, Montreal (M965.199.4759). Courtesy of McCord Museum.
Humanity in the Beginning of the Atomic Era, 1953, by Thomas Anthony Luzny. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19910202-007). Courtesy of the Canadian War Museum.
Huy on the Meuse on the Road to the Rhine, 1919, by Maurice Cullen. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0133). Courtesy of the Canadian War Museum.
I’m ‘A Comin’ Home!, c.1945, by William Allister. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20120037-004). Courtesy of the Canadian War Museum.
I don’t give a damn what the Maple Leaf says. You’ll wear your ribbons as laid down in –etc E—Bla –Bla-, 1944, by William Garnet (Bing) Coughlin. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20070124-001). Courtesy of the Canadian War Museum.
I don’t think I ever saw a man less suited to be a gentleman’s valet, illustration in The Canadian Magazine, December 1918, by Frederick Varley. Courtesy of Canadian Research Knowledge Network, for Canadiana.
I was a Victim of Careless Talk, 1943, by Harry “Mayo” Mayerovitch. Collection of the Canadian War Museum, Ottawa (CWM 19920196-140). Courtesy of the Canadian War Museum.
Il y a la guerre, mais il y a aussi la vie, 2009, by Karen Bailey. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20120122-001). Courtesy of the Canadian War Museum.
Illustration in Maclean’s magazine, October 1914, by Arthur Lismer. Collection of Maclean’s Archives.
In the Vault of the Cemetery, c.1945, by George Campbell Tinning. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-5495). Courtesy of the Canadian War Museum.
Infantry Near Nijmegan, Holland, 1946, by Alex Colville. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-2079). Courtesy of the Canadian War Museum.
Initial model for Canada “Bereft”, c.1921, by Walter S. Allward. Collection of the National Gallery of Canada, Ottawa, Gift of Mrs. Hugh Allward, 1981. Courtesy of the National Gallery of Canada.
Injured: PTSD, 2002, by Gertrude Kearns. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20050005-001). Courtesy of the Canadian War Museum.
Inside the Auxiliary Service Canteen at Amersfoort, Holland, 1945, by Molly Lamb Bobak. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-1606). Courtesy of the Canadian War Museum.
Invest and Protect. Help Finish the Job, n.d., by Franklin Arbuckle. Collection of the Canadian War Museum, Ottawa (CWM 19750317-099). Courtesy of the Canadian War Museum.
The Jack Pine, 1916–17, by Tom Thomson. Collection of the National Gallery of Canada, Ottawa (1519). Courtesy of the National Gallery of Canada.
Joseph Brant Monument, 1886, by Percy Wood. City of Brantford. Courtesy of Flickr. Photo credit: Bill Badzo.
Junior Rangers, 2006, by Annie Pootoogook. Collection of Stephanie Comer and Rob Craigie. Courtesy of expandinginuit.com. Reproduced with the permission of Dorset Fine Arts.
The Kaiser’s Battle Cry, 1914, by J.E.H. MacDonald. Courtesy of Canadian Research Knowledge Network, for Canadiana.
Kanehsatake: 270 Years of Resistance, 1993, by Alanis Obomsawin. Collection of the National Film Board of Canada, Montreal. Courtesy of the National Film Board of Canada. Photo credit: Shaney Komulainen.
Keeakeekasaakawow, Head Chief of the Crees, by Paul Kane, 1846. Collection of Library and Archives Canada, Ottawa (2897756). Courtesy of Library and Archives Canada/Brechin Group Inc.
Keeakeekasaakawow (“The man that gives the war whoop, Head Chief of the Crees”), 1849–56, by Paul Kane. Collection of the Royal Ontario Museum, Toronto, Gift of Sir Edmund Osler (912.1.42). Courtesy of the Royal Ontario Museum.
Lest We Forget, 1934, by Frank Badgley. Collection of Library and Archives Canada, Ottawa. Courtesy of the National Film Board of Canada, Montréal.
Long Day at Doha, 1991, by Edward Zuber. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19960062-006). Courtesy of the Canadian War Museum.
Maisonneuve Monument, 1893, by Louis-Philippe Hébert. Collection of the City of Montreal Public Art Collection. Photo credit: Guy L’Heureux, 2012.
Major John Norton (Teyoninhokarawen), c.1804, by Solomon Williams. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19950096-001). Courtesy of the Canadian War Museum.
Map of the East Coast of North America from the Vallard Atlas, 1547, by Dieppe school of cartography. Collection of the Huntington Library and Art Gallery, San Marino, California. Courtesy of the Huntington Library and Art Gallery.
Married Quarters under Construction at 4 Wing, Baden, 1954, by Robert Hyndman. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-6462). Courtesy of the Canadian War Museum.
Moo-che-we-in-es. Pale Face, My skin is dark but my heart is white for I also give to Canadian Patriotic Fund, 1916. Collection of Library and Archives Canada, Ottawa (2897984). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Morning Parade, 1944, by Pegi Nicol MacLeod. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-5784). Courtesy of the Canadian War Museum.
Munitions – Heavy Shells, c.1918, by Dorothy Stevens. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0686). Courtesy of the Canadian War Museum.
National Aboriginal Veterans Monument, 2001, by Noel Lloyd Pinay. Courtesy of Veteran’s Affairs Canada, Ottawa.
Night Target, Germany, 1946, by Miller Brittain. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-1436). Courtesy of the Canadian War Museum.
1914, c.1918, by Henri Hébert. Collection of the National Gallery of Canada, Ottawa, Royal Canadian Academy of Arts diploma work, deposited by the artist, Montreal, 1923 (2043). Courtesy of the National Gallery of Canada.
No. 3 General Hospital near Doullens, 1918, by Gerald Moira. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0427). Courtesy of the Canadian War Museum.
No. 8 Canadian General Hospital, 1918, by Caroline Armington. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-2472). Courtesy of the Canadian War Museum.
Noon Hour in a Munitions Plant, c.1918–19, by Frances Loring. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0418). Courtesy of the Canadian War Museum.
Nun-da’-wä-o-no’ (Seneca) moccasins, n.d. Collection of the Canadian Museum of History, Gatineau (1973-066-052 a-b). Courtesy of the Canadian Museum of History.
Nurses’ Memorial, 1926, by George William Hill. Collection of the House of Commons, Parliament Hill, Ottawa (O-1060). Courtesy of the House of Commons.
An Officer’s Room in Montreal, 1846, by Cornelius Krieghoff. Collection of the Royal Ontario Museum, Toronto, Gift of the Sigmund Samuel Endowment Fund (954.188.2). Courtesy of the Royal Ontario Museum.
Official War Artists Attached to the Canadian Army, 1946, photographer unknown. George Metcalf Archival Collection, Canadian War Museum, Ottawa (CWM 20040082-117). Courtesy of the Canadian War Museum.
Opening Night of the Canadian Army Art Exhibition, 1944, by Molly Lamb Bobak. Collection of Library and Archives Canada, Ottawa (3665087). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Opening of the Somme Bombardment, 1916, by Thurstan Topham. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0728). Courtesy of the Canadian War Museum.
Paphos Gate, C-73 Observation Post, Cyprus, 1990, by Réal Gauthier. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19960062-124). Courtesy of the Canadian War Museum.
Parachute Riggers, 1947, by Paraskeva Clark. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-5679). Courtesy of the Canadian War Museum.
Parachute Well, 1948, by Patrick Cowley-Brown. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-1962). Courtesy of the Canadian War Museum.
Passchendaele, Now a Field of Mud, November 1917, by William Rider-Rider. Collection of Library and Archives Canada, Ottawa (3643038). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Peacekeepers, n.d., by Marc-Bernard Philippe. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19970043-001). Courtesy of the Canadian War Museum.
Pearson Peace Medal (awarded to Lt. General E.L.M. Burns), 1981, by Dora De Pédery-Hunt. Collection of the Canadian War Museum, Ottawa (CWM 19850427-004). Courtesy of the Canadian War Museum.
Per Ardua Ad Astra, 1943, by Carl Schaefer. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-5218). Courtesy of the Canadian War Museum.
Personnel of Strathcona’s Horse en route to South Africa aboard S.S. Monterey, 1899, photographer unknown. Collection of Library and Archives Canada, Ottawa (3194532). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Physical Training at Witley Camp, c.1918, by Laura Knight. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0808). Courtesy of the Canadian War Museum.
The Pigeon Hill (Eccles Hill) Camp of the 60th Battalion, 1870, by William Sawyer. Collection of Library and Archives Canada, Ottawa (3192302). Courtesy of Library and Archives Canada/Brechin Group Inc.
The Place of Healing in the Transformation from War to Peace, 1949–54, by Miller Brittain. Collection of the New Brunswick Museum, Saint John, transfer from the Horizon Health Network, 2016 (2016.2). Courtesy of the New Brunswick Museum.
Plaster model of The Sympathy of the Canadians for the Helpless for the Vimy Memorial, n.d., by Walter S. Allward. Collection of the National Gallery of Canada Library and Archives, Ottawa. Courtesy of the National Gallery of Canada.
Portrait Bust of Techkumthai (Tecumseh), 1896, by Hamilton MacCarthy. Collection of the Royal Ontario Museum, Toronto, Gift of the Honourable Justice Dalton C. Wells (964.248). Courtesy of the Royal Ontario Museum.
Portrait of a Famous One-eyed Man (Portrait d’un Illustre borgne), n.d., by Louis Nicolas. Collection of the Gilcrease Museum, Tulsa, Oklahoma. Courtesy of the Gilcrease Museum.
Portrait of Mrs. Marion Patterson, G.M., c.1942, by Robert Sivell. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19740004-001). Courtesy of the Canadian War Museum.
Prisoners of War from the Falaise Pocket, 1944, by Orville Fisher. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-6330). Courtesy of the Canadian War Museum.
Prisoners of War, the Falaise Pocket, 1945, by Orville Fisher. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-6331). Courtesy of the Canadian War Museum.
Private Roy, 1946, by Molly Lamb Bobak. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-1626). Courtesy of the Canadian War Museum.
The Proclamation of The Constitution Act, 1982. Collection of Library and Archives Canada, Ottawa. Courtesy of Library and Archives Canada/The Brechin Group Inc.
Proudly She Marches, 1943, by Jane Marsh Beveridge. Collection of the National Film Board of Canada, Montreal. Courtesy of the National Film Board of Canada.
The Raft of the Medusa, 1818–19, Théodore Géricault. Collection of the Louvré Museum, Paris (4884). Courtesy of Wikimedia Commons.
Rangers, 2010, by Tim Pitsiulak. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20180366-001). Courtesy of the Canadian War Museum. Reproduced with the permission of Dorset Fine Arts.
The Ranges (Camp at Sunrise), 1915, by Homer Watson. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0810). Courtesy of the Canadian War Museum.
R.C.A.[F.] Officer Doing Handicraft Therapy, No. 1 Canadian General Hospital, Taplow, England, 1945, by George Campbell Tinning. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20120016-001). Courtesy of the Canadian War Museum.
Ready State, 2013, by Scott Waters. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20150454-001). Courtesy of the Canadian War Museum.
The Rebellion in the North-West Territory of Canada: Colonial Troops Marching over the Ice of Nepigon Bay, Lake Superior, 1885, by Herbert de Haga Haig. Collection of Library and Archives Canada, Ottawa (2933970). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Remembering the Holocaust, 1988, by Aba Bayefsky. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19970112-001). Courtesy of the Canadian War Museum.
René Lévesque puts his mini-tape recorder on his head and fords a small stream as he works his way forward to RCR troops deeper in enemy territory, August 13, 1951, by Kenneth Maclean. Collection of Library and Archives Canada, Ottawa (3382576). Courtesy of Library and Archives Canada/The Brechin Group Inc.
The Response, National War Memorial, 1926–32, by Vernon March. Courtesy of Wikimedia Commons. Photo credit: Mmcintyre.
The Rideau Canal, Bytown, 1841, by William Henry Bartlett. Collection of the National Gallery of Canada, Ottawa (15028). Courtesy of the National Gallery of Canada.
Road Between Kingston and York, Upper Canada, c.1830, by James Pattison Cockburn. Collection of Library and Archives Canada, Ottawa (2894469). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Sa Ga Yeath Qua Pieth Tow, King of the Maquas, 1710, by John Verelst. Collection of Library and Archives Canada, Ottawa (2894988). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Sacrifice, c.1919, by Charles Sims. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0662). Courtesy of the Canadian War Museum.
Safe, 2013, by Maskull Lasserre. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20160318-001). Courtesy of the Canadian War Museum.
Sanctuary Wood, Flanders, 1920, by Mary Riter Hamilton. Collection of Library and Archives Canada, Ottawa (2835992). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Save Waste Bones – They Make Glue For Aircraft… And Are Used for Explosives, 1940–41. Collection of the Canadian War Museum, Ottawa (CWM 19920196-001). Courtesy of the Canadian War Museum.
Seaman with Fenders, 1985, by Attilio Francella. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19960062-001). Courtesy of the Canadian War Museum.
The Second Battle of Ypres, 22 April to 25 May 1915, 1917, by Richard Jack. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0161). Courtesy of the Canadian War Museum.
Second Lieutenant Molly Lamb of the Canadian Women’s Army Corps (C.W.A.C.), a War Artist, London, England, July 12, 1945, by Karen Hermiston. Collection of Library and Archives Canada, Ottawa (3191978). Courtesy of Library and Archives Canada/The Brechin Group Inc.
“Sewing Up the Dead”: Preparation of North-West Field Force Casualties for Burial, April 25, 1885, by James Peters. Collection of Library and Archives Canada, Ottawa (3192262). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Shoulder to Shoulder, October 10, 2001, by Aislin. Collection of the artist. Courtesy of the artist.
Shoulder to Shoulder Canadian Women’s Army Corps, n.d., by Clarence Charles Shragge. Collection of the Canadian War Museum, Ottawa (19880069-860). Courtesy of the Canadian War Museum.
The Skálholt Map, 1690 copy of 1570 lost original, by Thord Thorláksson after Sigurdur Steffánsson. Collection of the Royal Danish Library, Copenhagen. Courtesy of the Royal Danish Library.
Sketch II: The Taking of Mary March (Demasduit) on the North Side of the Lake, 1915, recreation by James P. Howley, after the original by Shanawdithit (Nancy April), 1829. Courtesy of the Memorial University Digital Archive, St. John’s.
The Skirmish at Bloody Point, Frobisher Bay, 1585–93, after John White. Collection of the British Museum, London (SL 5270.12). Courtesy of the British Museum.
Smoking pipe (calumet), Haudenosaunee (Iroquois), 1600–50. Collection of the Royal Ontario Museum, Toronto, Gift of J. L. Hughes (NS85). Courtesy of the Royal Ontario Museum.
The Soldier’s Wife, 1941, by Elizabeth Cann. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Nova Scotia Society of Artists, Diploma Collection, Halifax, Nova Scotia, 1974 (1974.19). Courtesy of the Art Gallery of Nova Scotia.
Some Day the People Will Return, 1918, by Frederick Varley. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0769). Courtesy of the Canadian War Museum.
Southeast view of Brock’s Monument on Queenston Heights as it appeared on May 9, 1841. Thomas Glegg fonds, Archives of Ontario, Toronto.
Spirits of Christmas – No Man’s Land, 1914, by J.E.H. MacDonald. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19930115-001). Courtesy of the Canadian War Museum.
Stamiik’siisapop (Bull Plume) and Minnikonotsi (Man Angry With Hunger), 1907, by Edmund Morris. Edmund Morris Collection, Provincial Archives of Manitoba, Winnipeg (P8229/5, ID: 111-112). Courtesy of Provincial Archives of Manitoba/The Photo Refinery.
Study for Vimy Ridge from Souchez Valley, October 17, 1917, by A.Y. Jackson. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-6471). Courtesy of the Canadian War Museum.
Summer in England, n.d. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19800075-005). Courtesy of the Canadian War Museum.
The Sunken Road, 1919, by Frederick Varley. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0771). Courtesy of the Canadian War Museum.
Taking Survivors on Board, 1945, by Jack Nichols. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-4312). Courtesy of the Canadian War Museum.
Tashme, 2006, by Norman Takeuchi. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20140167-002). Courtesy of the Canadian War Museum.
Tashme Camp, c.1940–49, photographer unknown. Japanese Canadian Research Collection, University of British Columbia Library, Rare Books and Special Collections, Vancouver. Courtesy of the University of British Columbia Library, Rare Books and Special Collections.
Thayendanegea (Joseph Brant), c.1807, by William Berczy. Collection of the National Gallery of Canada, Ottawa (5777). Courtesy of the National Gallery of Canada.
This Is Our Strength – Agriculture, n.d., by Fritz Brandtner. Collection of the Canadian War Museum, Ottawa (CWM 19920196-008). Courtesy of the Canadian War Museum.
Tipi, c.1880, attributed to Standing Bear. Collection of the Denver Art Museum (1963.271). Courtesy of the Denver Art Museum.
Tipi (detail), c.1880, attributed to Standing Bear. Collection of the Denver Art Museum (1963.271). Courtesy of the Denver Art Museum.
Tomb of Giuliano de’ Medici, 1520–34, by Michelangelo. Courtesy of WikiArt.
The Tomb of the Unknown Soldier, 2000, by Mary-Ann Liu. Courtesy of iStock. Photo Credit: Dougall Photography.
Torpedoed Ship, 1995, by Jack Nichols. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20020123-003). Courtesy of the Canadian War Museum.
Trench Fight, 1918, by Harold James Mowat. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0434). Courtesy of the Canadian War Museum.
Trooper Lloyd George Moore, RCA, 1942, by Henry Lamb. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-6105). Courtesy of the Canadian War Museum.
Trooper O.G. Govan, 1941, by Henry Lamb. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-6100). Courtesy of the Canadian War Museum.
Turtle Calumet, Haudenosaunee, 1600–50. Collection of the Royal Ontario Museum, Toronto (NS86). Courtesy of the Royal Ontario Museum.
29th Infantry Battalion Advancing over “No Man’s Land” through the German Barbed Wire and Heavy Fire during the Battle of Vimy Ridge, 1917, by William Ivor Castle. Collection of Library and Archives Canada, Ottawa (3233066). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Two Row Wampum Belt (reproduction), 1993, by Jacob Ezra Thomas. Collection of the Woodland Cultural Centre, Brantford. Courtesy of the National Gallery of Canada, Ottawa.
Tyne Cot Cemetery (Passchendaele), c.1971 or earlier. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-1668). Courtesy of the Canadian War Museum.
Untitled, c.1945, by Joe Rosenthal. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20150230-001). Courtesy of the Canadian War Museum.
Unveiling Vimy Ridge Monument, 1937, by Georges Bertin Scott. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19670070-014). Courtesy of the Canadian War Museum.
Veronica Foster, an employee of John Inglis Co. Ltd. and known as “Ronnie, the Bren Gun Girl” posing with a finished Bren gun in the John Inglis Co. Ltd. Bren gun plant, Toronto, Ontario, Canada, 1941, photographer unknown. Collection of Library and Archives Canada, Ottawa (3193621). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Victory Bonds Will Help Stop This – Kultur vs. Humanity, 1918. Collection of the Canadian War Museum, Ottawa (CWM 19850475-034). Courtesy of the Canadian War Museum.
A View of the Church of Notre Dame de la Victoire; Built in Commemoration of the Raising the Siege in 1695, and Destroyed in 1759, 1761, A. Benoist after Richard Short. Collection of the Canadian War Museum, Ottawa (CWM 20070175-003). Courtesy of the Canadian War Museum.
A View of Fort La Galette, Indian Castle, and Taking a French Ship of War on the River St. Lawrence, by Four Boats of One Gun Each of the Royal Artillery Commanded by Captain Streachy, 1760, by Thomas Davies. Collection of the National Gallery of Canada, Ottawa (6271). Courtesy of the National Gallery of Canada.
Vimy Memorial (detail of the Male Mourner), 1921–36, by Walter S. Allward. Photo credit: Elizabeth Salomons.
Vimy Ridge from Souchez Valley, 1918, by A.Y. Jackson. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0171). Courtesy of the Canadian War Museum.
Wait for Me, Daddy, 1940, by Claude Detloff. Collection of the Vancouver City Archives (CVA 371-3183). Courtesy of the Vancouver City Archives.
The Wall, 1995, by William MacDonnell. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19970054-001). Courtesy of the Canadian War Museum.
Walter S. Allward’s plaster statues for the Canadian National Vimy Memorial (gallery view), 1921–36, Canadian War Museum, Ottawa. Courtesy of the Canadian War Museum.
The Wanton Destruction of the Hun – Every Tree and Orchard in the Evacuated Area Is Cut, 1917, attributed to William Ivor Castle. George Metcalf Archival Collection, Canadian War Museum, Ottawa (19920085-059). Courtesy of the Canadian War Museum.
War the Despoiler, 1915, by Emanuel Hahn. Collection of the National Gallery of Canada, Ottawa (39984). Courtesy of the National Gallery of Canada.
War Exploit Robe, probably Niitsitapi (Blackfoot), c.1830–50. Collection of the Royal Ontario Museum, Toronto, Gift of the Louise Hawley Stone Charitable Trust; purchased by the Royal Ontario Museum with the assistance of a Moveable Cultural Property grant accorded by the Minister of Canadian Heritage under the terms of the Cultural Property Export and Import Act (2006.79.1). Courtesy of the Royal Ontario Museum.
War Posters Room, Public Archives Building, Sussex Street, c.1944, photographer unknown. Collection of Library and Archives Canada, Ottawa (3319314). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Wasp Flame Thrower Used by Princess Patricia’s Canadian Light Infantry in Korea, June 11, 1951, by Bill Olson. Collection of Library and Archives Canada, Ottawa (PA-128870). Courtesy of Library and Archives Canada/The Brechin Group Inc.
Welland-Crowland War Memorial, 1939, by Elizabeth Wyn-Wood. City of Welland Public Art Collection. Courtesy of the City of Welland.
What They Gave, 2006, by Gertrude Kearns. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 20120019-001). Courtesy of the Canadian War Museum.
Why Aren’t You in Uniform?, c.1941–45. Collection of the Canadian War Museum, Ottawa (CWM 19700186-160). Courtesy of the Canadian War Museum.
Wings on Her Shoulder, 1943, by Jane Marsh Beveridge. Collection of the National Film Board of Canada, Montreal. Courtesy of the National Film Board of Canada.
Women Are Warriors, 1942, by Jane Marsh Beveridge. Collection of the National Film Board of Canada, Montreal. Courtesy of the National Film Board of Canada.
Women Making Shells, 1919, by Henrietta Mabel May. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0389). Courtesy of the Canadian War Museum.
Wounded, 1921, by Robert Tait McKenzie. Collection of the National Gallery of Canada, Ottawa (6476). Courtesy of the National Gallery of Canada.
Art Canada Institute
Massey College, University of Toronto
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Library and Archives Canada Cataloguing in Publication
Title: War art in Canada : a critical history / Laura Brandon.
Names: Brandon, Laura, 1951- author.
Identifiers: Canadiana 20210342900 | ISBN 9781487102722 (PDF) | ISBN 9781487102715 (HTML)
Subjects: LCSH: War in art. | LCSH: Art and war. | LCSH: Art, Canadian—Themes, motives.
Classification: LCC N8260 .B73 2021 | DDC 704.9/4935502—dc23
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