Canadian art refers to the visual painting, photography, and printmaking as well as plastic arts originating from the geographical area of contemporary Canada. Art in Canada is marked by thousands of years of habitation by First Nations Peoples followed by waves of immigration which included artists of European origins and subsequently by artists with heritage from countries all around the world. The nature of Canadian art reflects these diverse origins, as artists have taken their traditions and adapted these influences to reflect the reality of their lives in Canada.

Canadian Artist - Paul Peel Paintings

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Biography of Canadian Painter Paul Peel

Academic, Classical
born 1860 - died 1892
Student of: Thomas Eakins (1844-1916)

PEEL, PAUL, painter; b. 7 Nov. 1860 in London, Upper Canada, son of John Robert Peel and Amelia Margaret Hall; m. 16 Jan. 1886 Isaure Fanchette Verdier in Willesden (London), England, and they had one son and one daughter; d. 3 Oct. 1892 in Paris.

In the early 1850s his parents, both of whom were born in England, settled in London, Upper Canada, where his father quickly prospered as a stone-carver and drawing instructor. The eight Peel children were provided with a supportive and artistic family milieu; Canadian artist Paul Peel and his sister Mildred especially flourished under their father’s tutelage. In 1875 the painter became a pupil of the English-born landscape and portrait painter William Lees Judson, who instructed him in the rudiments of the predominant style of the day, called academic art, and encouraged him to paint outdoors. One of Canadian artist paintings dating from his two years under Judson won a prize at London’s Western Fair in September 1876.

In July 1890 Peel made a trip home to see his dying mother. Paul Peel did some oil sketching around southern Ontario and at Quebec in a light-filled Impressionist mode, and organized an exhibition of 32 of Canadian artists paintings at London’s Tecumseh House Hotel towards the end of September. More important, Paul Peel held an auction of 57 paintings in Toronto in mid October, a sale which realized $2,746. Although contemporaries generally felt that the Canadian paintings had sold for less than their true value, scholars continue to disagree about whether this amount constituted an adequate reward for Peel’s efforts, and no comment from the artist himself has survived. In November Paul Peel left for France.

The next two years witnessed a further consolidation of Canadian art and reputation. Paul Peel spent the summers with his family in Denmark and continued to exhibit at the Salon (La jeunesse in 1891 and Les jumelles in 1892) as well as in Toronto. In late September 1892 Paul Peel suddenly fell ill in Paris and died on 3 October, possibly of influenza.

Although the Canadian artist left a substantial body of work, Paul Peel must be seen as a talented painter at the threshold of achieving his full artistic maturity. Despite a certain unevenness often found in the painting of young Canadian painting artists, Peel’s creative output made him, in his day, perhaps Canada’s best-known painter in Europe. His frequent displays of technical virtuosity, especially in the depiction of the human body, his adherence to the conservative tenets of the juste milieu, and his fascination with domestic scenes of women and children - always touching, occasionally erotic - perfectly reflect 19th-century European bourgeois values and the artistic concerns of most of his generation. Peel’s considerable popularity in Canada today rests on a few pictures in just such a mode. However sentimental, they continue to strike immediate chords.

The author gratefully acknowledges Victoria Baker’s exhibition catalogue Canadian artist Paul Peel: a retrospective, 1860–1892 (London, Ont., 1986), the most complete publication on Paul Peel to date. Although extremely thorough in its presentation of factual information, and extensively illustrated, the catalogue falls short of properly establishing the North American and European artistic and social contexts for his career and hence of interpreting Canadian paintings fully. Aleksa Čelebonović, The heyday of Salon painting: masterpieces of bourgeois realism (London, 1974), H. B. Weinberg, The American pupils of Jean Léon Gérôme (Fort Worth, Tex., 1984), and Brain Dijkstra, Idols of perversity: fantasies of feminine evil in fin-de-siècle culture (New York, 1986) are but three publications which supplement the catalogue in this area. d.w..

Visual art made in Canada by living Canadian artists refers to a range of visual, media, performance, and other practices that are critically acclaimed. There has been much debate over whether a national style, philosophical outlook, or unified and cohesive culture exists or ever has existed within Canada. It is large geographically, with many distinct regions, and its population is diverse and is made up of varying national and ethnic backgrounds. Also, as traditional distinctions between "high art" and "low" and "popular" art seem to be becoming less clear, the task of locating one or even a few common characteristics of Canadian art or culture becomes difficult.