Canadian Society of Painters in Water Colour

The Canadian Society of Painters in Water Colour (in

of the United Kingdom, etc.

The nation's oldest

medium

-specific arts organization has had an illustrious history. Membership is looked upon as a mark of achieving peer recognition in one of the most difficult and demanding visual arts form.

The elected members are entitled to use the Society's initials CSPWC (in French: SCPA) after their names.

Early history

There is probably justification for including some of the

dyes

while really not having any practical reason for exploring any inherent transparent qualities.

The first recorded use of a

.

Prior to the invention of the

portrait miniatures

, on vellum or ivory, were a staple in the homes of Canada's urban elite.

By the nineteenth century there were a number of well-known watercolourists such as Thomas Davies [1737-1812],^[6] George Heriot,^[6] Otto Reinhold Jacobi, C. J. Way and Canadian-born Lucius Richard O'Brien [1832-1899] working in various parts of the country. Kane became well known for his record of interactions with the First Nations People as he traveled across western Canada with The North West Company and the Hudson's Bay Company. While Jacobi, Way and O'Brien and others involved themselves in the 1880 founding of the Royal Canadian Academy of Arts there had long been demands, especially in Montreal, for the formation of a specifically medium based society.

While several of these early societies did survive for brief periods it was on November 11, 1925, that a group of like-minded artists met at the historic

(1871–1951) a well-connected artist and educator who created a sense of vitality within the group and who encouraged many younger artists to apply for election.

The founding members of the CSPWC/SCPA

When organizing the initial meeting these mainly Ontario-based artists did invite a number of nationally prominent watercolourists including W.J. Phillips[2] and Florence Helena McGillivray^[2] who, being based at distances from Toronto, were unable to attend. However they did send strong letters of support and in reality should be considered "founders". This is significant because the inclusion of Florence H. McGillivray^[2] is evidence of the new society's willingness to accept female members from its inception.

Formative years

The CSPWC/SCPA,

, in a public gallery. The reality was that the emerging artist got public recognition by jury acceptance to exhibit with his or her better-known peer group, their fame adding lustre by association.

In the years between the World War I and World War II, Canada experienced a period of unexpected growth as demand for its agricultural products and mineral wealth made it one of the world's strongest markets. As one of the signatories of the Treaty of Versailles in 1919, Canada was, unknown to itself at the time, seeking to establish its own identity separate from its earlier colonial rulers.

It was in the visual arts, initially in the area of landscape painting, that the new country found one of its strongest senses of self. As painters across the country fanned out into their respective rural, backwoods and northern spaces, it was the medium of watercolour an easily transportable and light material which lent itself so readily to the newly popular subject matter.

While many artists did use watercolours as an on-site sketching medium, many used those same paintings as source material for often larger and more highly finished works on canvas that they produced in their home studios. The resulting public perception of watercolours as a lesser medium than others such as oil is a still recurrent problem for all practitioners despite the fact that watercolour is the more demanding medium. It was this very ill-informed perception that was behind the very founding of the Society as an exhibiting body where the individual art pieces would not be compared to neighbouring work in other less challenging materials.

Beginning in the 1930s, the

. Both of these overseas exhibitions were praised by the international art press and served to increase the prestige of the Society.

With the outbreak of

and served in various capacities at home and on the war fronts. The regular series of exhibitions was obviously affected and only fully resumed in 1946.

Times change

In 1949, the Society's annual exhibition at the

was reorganized to open up new rules to become the first truly "open", as opposed to "invitational", show in the Society's history. That tradition, with some amendments, has continued to the present day with the current "Open Water" Annual Exhibition being open internationally to any artist working in the medium.

The 1950s witnessed the creation of new areas of art scholarship with the development of both commercial art galleries and a new professional approach to art curatorships in the major public galleries. Finding that a sizable percentage of the exhibition program was taken up with the annual shows of regional and national arts groups, the new curatorial staff repositioned themselves. The last regular exhibition of the Society at the Art Gallery of Toronto was hosted in 1958 and subsequently there was a cooling of long treasured connections with Ottawa's National Gallery.

The leadership within the CSPWC/SCPA sought alternate gallery space and found it in a variety of venues from coast to coast. Regional galleries, libraries and university campuses hosted the annual exhibitions and a new sense of national identity was found within the Society. While the annual search for a venue created much work for a volunteer membership it did help develop a real sense of comradeship that has continued to the present day. While a number of other media-based institutions started to falter during this difficult period the CSPWC/SCPA worked very hard to keep itself viable and the annual juried show its "raison d'être". Working from within its own resources and relying on elected members in far-flung communities, the regular annual exhibitions continued to take place but the cost of shipping, cataloguing and insurance were prohibitive and much of the work was performed by a small set of volunteers. It all became very draining, and as new commercial galleries sprung up, many members left to forge more lucrative connections.

Rebounding

The long history of annual juried exhibitions continued into the 1970s and with the addition of exchange exhibitions with the American Watercolor Society at the National Academy Galleries in New York City. In 1975, an invitation was accepted to exhibit at the newly renovated Canada House on Trafalgar Square in London. The same year the Art Gallery of Ontario hosted an "in-house" retrospective to salute the Society's 50th anniversary.^[11] In 1976 the Society was able to organize a member exchange exhibition with Japan^[12] that was exhibited at the Tokyo Metropolitan Art Museum. This particular show, with the cooperation of a number of government and commercial partners was a critical success. The acclaim received gave the CSPWC/SCPA members a renewed sense of identity.

Working with Visual Arts Ontario,^[2] the Society was able to obtain permanent office space in the 1970s and was able to organize the first of a number of educational seminars that have evolved into today's popular National Watercolour Symposiums. These week-long events have been held in virtually every part of the country and have been responsible for a major spurt in applications for membership.

When the time came to organize the CSPWC/SCPA 1985

in venues in four different countries.

In the 1980s the CSPWC/SCPA was one of a number of major arts organizations that set up the John B. Aird Gallery/Galerie John B. Aird within the Ontario Government administrative complex at Queen's Park, Toronto. The Aird Gallery, available to each of the societies for an annual exhibition, put the CSPWC/SCPA on a secure exhibition footing and yet still gave it the opportunity to seek exhibition opportunities across the nation. When their regular exhibition slot is not used for the Annual "Open Water" show it is devoted to member themed displays.

By the 1990s the CSPWC/SCPA had truly become a "national" society with a series of regional directors and members drawn from across the country. This continues today with the current outreach to involve greater participation from First Nation artists.

Celebrating the 75th anniversary in 2000 with its regular Annual "Open Water" exhibition, the CSPWC/SCPA unveiled the first Julius Griffith award given to "an elected member who has made an outstanding and sustained contribution to the Society". Once again adjudication of members' works took place in order to send another 15 paintings to be added to the 60 Canadian holdings at the

who is an Honorary Member of the CSPWC/SCPA.

There was also a members' exhibition in Toronto that marked the anniversary thereby continuing a long tradition. As the year came to a close, a major retrospective show of the Society, "A Brush with History", was organized by the Art Gallery of Mississauga.^[14]

Present

The Annual "Open Water" show, open to all artists, continues to be the focus of the Society's work, which can be hosted anywhere in the country. The most prestigious award is the "

, given "for outstanding achievement in watercolour painting" to the best work in the show.

In January 2008, the CSPWC/SCPA hosted an exhibition at the John B. Aird Gallery/Galerie John B. Aird which honored the careers of ten outstanding Life Members. Titled "Treasures", this show was the best attended Aird Gallery exhibition in decades. The next year saw another ten Life Members honored in "Treasures 2009".

The Society is a regular contributor to bi-annual exhibitions at the Museo Nacional de le Acuarela in Mexico.

The Society has a long history of encouraging younger artists and with sponsored awards .

Since the 1980s each member upon election is required to donate a significant and typical work to the Society's Diploma Collection. This valuable resource which also includes earlier works by members is often referred to as the National Watercolour Collection. It is available as an exhibition and study resource, and part of the collection is exhibited on a regular basis.

CSPWC/SCPA Presidents

• 1925-26 Robert Ford Gagen {honorary}^[2]
• 1926-28 Frederick Henry (Fred) Brigden^[2]
• 1928-31 C.W. Jefferys
• 1931-32 T.G. Greene
• 1932-34 Franklin Carmichael
• 1934-38 Peter Haworth^[2]
• 1938-41 Carl Schaefer^[2]
• 1941-43 Charles Goldhamer
• 1943-45 Caven Atkins
• 1945-46 Jack Bush^[15]
• 1946-48 William Winter
• 1948-50 Paraskeva Clark
• 1950-52 Charles Comfort^[16]
• 1952-54 Jock Macdonald^[2]
• 1954-56 Bobs Cogill Haworth
• 1956-58 Doris McCarthy^[17]
• 1958-60 Julius Griffith
• 1960-62 D. Mackay Houston
• 1962-64 John Richmond
• 1964-65 Donald Neddeau
• 1965-67 Viktorus Brickus
• 1967-69 Barbara L. Greene
• 1969-72 John Henry Martin
• 1972-77 John Bennett
• 1977-79 Ray Cattell^[17]
• 1979-81 Julius Griffith
• 1981-84 William Sherman
• 1984-86 Gery Puley
• 1986-88 Osvald Timmas
• 1988-91 Rudolf Stussi^[17]
• 1991-93 Marc Critoph
• 1993-95 Anthony J. Batten^[17]
• 1995-97 Margaret L. Squire
• 1997-99 Chuck Burns
• 1999-2001 Ed Shawcross
• 2001-03 Neville Clarke^[17]
• 2003-05 Tim Packer
• 2005-07 Marc L. Gagnon
• 2007-09 Marlene Madole
• 2009-11 Peter Marsh
• 2011-12 Katherine Zarull
• 2012-14 William Rogers
• 2014-19 Rayne Tunley
• 2019-2021 Jean Pederson
• 2021-23 Sam L Boehner
• 2023- Marlene Madole

Elected Members

• 1980-2015 Sharon Christian Holmes^[18]

References

Bibliography

• "Canadian Who's Who",
  ISBN 978-1-4426-4155-6
  University of Toronto Press
• "Painting in Canada, A History",
  ISBN 978-0-8020-6307-6
  J. Russell Harper, University of Toronto Press, 1966
• "Passionate Spirits",
  ISBN 0-7720-1308-X
  , Rebecca Sisler, Clarke Irwin and Co.

External links

• Official website