Kâ-têpwêwi-sîpiy Who Calls
The English immigrant James Henderson, who settled in Fort Qu’Appelle around 1910, was the dominant figure in southern-Saskatchewan art until the 1940s. Henderson was best known for his oils charting seasonal changes in the valley.
Unknown Photographer
James Henderson
Photographe Inconnu
James Henderson
Mildred Valley Thornton, F.R.S.A.
Wheat Field [Valley meadow with stooks]
Mildred Valley Thornton, FRSA
Champ de blé [un champ de la vallée avec des meulettes]
Sarah Schafer
Last Mountain Lake, Regina Beach
Sarah Schafer
Lac Last Mountain, Regina Beach
The younger generation looked, meanwhile, to the Lumsden-born Illingworth Kerr (1905–1989), Saskatchewan’s first home-grown painter. Kerr had studied with the Group of Seven and C.W. Jefferys in Toronto in the late 1920s. He applied what he had learned to the expressive interpretation of the valley as a uniquely Canadian landscape.
Illingworth Kerr
Across the Coulee
Illingworth Kerr
De l’autre côté de la coulée
Illingworth Kerr
Last Mountain Lake, Saskatchewan
Illingworth Kerr
Le lac Last Mountain en Saskatchewan
Illingworth Kerr
Untitled [Grain Elevators, Lumsden]
Illingworth Kerr
Sans titre [silos à grain à Lumsden]
After Henderson, a generation of painters and photographers independently walked, rode or canoed the Qu’Appelle (including Illingworth Kerr, Robert Hurley, Edgar Rossie, Ruth Pawson, Ethel Barr, Ernest Luthi, R.J. Symons, and Mashel Teitelbaum).
Mashel Teitelbaum
Untitled [Qu’Appelle Valley]
Mashel Teitelbaum
Sans titre [la vallée Qu’Appelle]
Mashel Teitelbaum
God’s Acre
Mashel Teitelbaum
L’acre de Dieu
Ernest Luthi
September on the South Sioux Hill, Showing Part of Pasqua Lake
Ernest Luthi
Septembre sur le sud de la colline sioux, montrant une partie du lac Pasqua
Ernest Luthi
Moonlight on Echo Lake from B-Say-Tah
Ernest Luthi
Clair de lune sur le lac Echo de B-Say-Tah
Robert D. Symons
Cowan’s Coulee
Robert D. Symons
La coulée de Cowan
Unknown Photographer
Mashel Teitelbaum painting near Fort Qu’Appelle
Photographe Inconnu
Mashel Teitelbaum peinture près de Fort Qu’appelle
Then, in the late 1950s, introduced by the University of Saskatchewan’s Emma Lake Workshop and the parallel Regina Five, the forces of international modernism caused Abstract Expressionism to become the common language of western-Canadian art. In spite of the creative ferment generated by the summer school of the arts that enlivened the former Fort San tuberculosis sanatorium on Echo Lake during the 1970s and 80s, no “Qu’Appelle Valley School” arose to challenge the Emma Lake School with a different vision.
Next: Other Traditions: Hidden Depths
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