A New Brunswick Art History Vignette on the occasion of New Brunswick Day (August 1)

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Collection of the Indianapolis Museum of Art

Alfred Thompson Bricher, "Morning at Grand Manan," 1878

Alfred Thompson Bricher, "Morning at Grand Manan," 1878, oil on canvas, 25" × 50"

The grand flowering of a uniquely American art movement surprisingly has a strong Atlantic Canada connection, most specifically to New Brunswick. In the decades following the American civil war the works of many prominent American artists were banded together under the umbrella moniker of “The Hudson River School”. The stylistic approach towards their creations was often referred to as ‘luminism’. In essence, the quality of light that bathed these primarily landscape subjects was the main protagonist. Rather than elaborate descriptive pictorial details these works allowed light and atmosphere to establish the tone and our reading of the intended meaning of the depicted scene: mankind’s travails touched by the hand of God. A precedent and parallel can be observed in the Beaverbrook Art Gallery collection work “The Fountain of Indolence” by J.M.W. Turner.

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Collection of Galerie d’art Beaverbrook Art Gallery

J. M. W. Turner, "The Fountain of Indolence," 1834

J. M. W. Turner, "The Fountain of Indolence," 1834, oil on canvas, 41.9" × 65.5"

In certain respects, the appearance of their works resulted from a technical innovation in painting materials. The invention of coal tar dyes introduced a line of powerful, intense new colours to the painter’s repertoire. Some works of the period seem an evident contrivance to find a suitable subject to lavish and spread the glow of these sparkling, radiant new colours over vast expanses of the work. Sunrise and sunsets were particularly cooperative devices for this purpose. Certain American painters reveled in the electric qualities of these depictions.

Mere obdurate inert matter (paint) was magically transformed into supernatural otherworldly effects that appear to literally light up the canvas.

Public Collection

Frederic Edwin Church, "Grand Manan Island, Bay of Fundy"

James Hamilton, Grand Manan

James Hamilton, Grand Manan

Canadian artists on the other hand were more reticent and reserved. They preferred colour schemes and treatments that were understated and more natural in appearance.

Alfred Thompson Bricher, Grand Manan

James Hamilton, Grand Manan

James Hamilton, Grand Manan

By the late 19th century, artists were reflecting the anxieties of the age; countless people were seeking to find a refuge from the oppression of industrialization, smog, burgeoning populations and the resulting turmoil of urban life. Parisian artists descended upon subjects to be found in the Forest of Fontainebleau surrounding the nearby rural village of Barbizon. Their counterparts from London embraced the wilds of the British lakes district and highland Scotland. In America, artists sought wilderness vistas. They travelled to remote places to find places yet unspoiled by the encroachment of the new age, among them Newfoundland, Labrador, the arctic, and as well, the Fundy shore. Grand Manan Island, off the coast of N.B. and Maine was a ubiquitous favorite subject for many exemplary works by some of the most noted artists of the day including Frederick Church, James Audubon, William Bradford, Lucius O’Brien and Alfred Bricher. The Grand Manan picture by Bricher is the prize of the permanent installation at the Indianapolis Art Museum. They are amongst the most prized and highly valued works of 19th century American art. Yet, no major American luminist painting of Grand Manan resides in a NB or Atlantic public collection.

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Grand Manan_3

We are thereby delighted to add this first example, a stunning late 19th Century oil painting of a sunset at Grand Manan, NB. This grand manner romantic work by an unknown artist is a fine example of the ‘luminist’ school. It has previously been linked, we believe erroneously, to William de Haas; his style and approach differ considerably. Some of us are pursuing the possibility that its qualities and temperament align it with the work of American, James Hamilton. (expressing great appreciation for the advice and assistance upon this question to Constance Martin, University of Calgary). This work gives us a glimpse of how our neighbors idealized life on Grand Manan. Characteristic of Grand Manan depictions the rugged cliffs and surf-pounded shoreline is played off against two feminine observers. Clad in genteel Victorian attire, their noble composure and civility in the face of the awesome might of raw nature is cast under the canopy of the approving warm light from the heavens.

First appeared on Jeffrey J. Spalding Facebook page.