NORVAL MORRISSEAU BLOG: Understanding Art of Norval Morrisseau (Part II)

Norval Morrisseau Quotes:

"I transmit astral plane harmonies through my brushes into the physical plane. These otherworld colours are reflected in the alphabet of nature, a grammar in which the symbols are plants, animals, birds, fishes, earth and sky. I am merely a channel for the spirit to utilize, and it is needed by a spirit starved society."

"My art speaks and will continue to speak, transcending barriers of nationality, language and other forces that may be divisive, fortifying the greatness of the spirit that has always been the foundation of the Ojibwa people."
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"I started to do some painting. I guess I saw some art literature from Arizona or the Southwest somewhere, but I was hungry to learn more. I wanted to paint my house and paint the walls in traditional pictographs like the ones I saw from the rock paintings and birch bark scrolls our people used to make."
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"I was told by some relatives not to do this - that I should not be tampering with these forms, 'because the Indians will ostracize you'. Or the elders would not care for it, just like the Jesuits.
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Nevertheless I was determined to do it, for it is my destiny..."
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"The Shaman Artist
Wishes to express to us
Through
The art form
That we are all
Like children
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Our childlike simplicity
With dignity and sweet humility
We view
One environment
and
Remind us of the Pure Spirit
Expressing itself upon ourselves."

"I don't wish my work to be exploited, but to be properly used as an art form in its proper place where for the generations of the great Ojibway people it can be seen in the future, as well as be appreciated by all our white brothers."

"I’ve been looking for books all my life – books about American Indians. Anything that I could find that was civil and worthwhile besides what my Grandfather was telling me about the Iroquois and others. There isn’t very much written about Natives in the art and history books we read today. The only thing that was written was about the Iroquois slaughtering the Jesuits somewhere and Sitting Bull and his followers being chased out of Canada."

"I want my work to be cornerstone for Indian art, to provide something that will last."
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"I have always been attracted to religious paintings, but only the ones that had that mystical or supernatural quality in them, especially Saint Teresa by Bernini. Just looking at Saint Teresa I get some kind of vibrations from it. I can close my eyes and feel them. That's great art, and it brings on that tingling sexual feeling. Other saints, like Saint Sebastian, do that as well. But the Christ figure was always the one that was dominant for me.That's why I say that Christ to me is still the greatest shaman, and that is why some religious visions are so complex, and so very hard to explain to people."
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"Love for life is a gift"
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“I would like to say that I am an artist so that I can beautify the world and battle conditioned consciousness with the same tools used to condition it."

My culture is my world.”

“My paintings are icons, that is to say, they are images which help focus on spiritual powers, generated by traditional belief and wisdom.”

"It is our Ojibwa tradition to recall our history or obtain our history in an oral manner. It is important for our children and others to benefit through the process of continuing to recall and make history."
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"I guess I was increasingly seeking the art form and culture I was being taught, but there was none out there."
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"The Grand Shaman is like the Pope of Rome. The Pope is on one side of coin, the Shaman on the other side of the coin."

"My Grandfather told me once that nobody, no matter how hard they tried, could he remember all of the legends, otherwise, the whole of Northwestern Ontario would be covered in Pictographs."

"My idea is, why I draw them, see, there's lots of stories that are told in Ojibway but that wasn't enough for me. I wanted to draw them - that's from my own self - my own idea what they look like."
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"Just be"
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"Today we wonder and are distracted by the white man's ways that we cannot cope with. Those of us who are lucky have made it. But a lot of us are still behind, by trying to live like our white brothers and their religion, ignoring our great ancestors' culture. If one has an intelligent mind we could live side by side with our ancient ways and same time get us where we should be."

"Armed with an arsenal of heavenly designs and sculptures, the priests were prepared and fearless. With their unlimited resources and soldiers they were sent to conquer the New World and bring their culture and religion to every corner."

"People had to be stripped of their culture before they could be taught to be civilized. The Natives of the Americas were not the dogs people were misled to believe, but rather a sophisticated network of different cultures, religions and so on."

"When the Jesuits came, the Indian was already around. The Indian did not understand them. He tried to understand them, what they were up to. He knew that they were going to be there for awhile. He knew how sad it was, seeing his people, how low they were put, how they had previously enjoyed living and needed to live freely again. How do we go about doing that now? We need images. We’re going to use images ourselves."

"I've always wanted to be a role model. I've always wanted to stay an Indian. I wanted the little kids to know that."

"To accomplish what I have started and to die in it feeling I have fulfilled what I started - to reach a level where I and Manitou and the Indian will always keep the Indian faith alive - to be a great Artist and Preserver of Indian culture. I accept it fully as a duty in life which was set forth for, to set an example."

"I may not have a Ferrari, but I'm the first Indian to break into the Canadian art scene and I have forever enriched the Canadian way of life. I want to make paintings full of colour, laughter, compassion and love. I want to make paintings that will make people happy, that will change the course of people's lives. If I can do that, I can paint for 100 years."

"These paintings only remind you that you're an Indian. Inside somewhere, we're all Indians. So now when I befriend you, I'm trying to get the best Indian, bring out the Indianness in you to make you think everything is sacred."
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"The fish, sacred trout, was the most respected of all fish. The trout gave the Indian life in abundance and according to Ojibwa Indian mythology it represented his soul carrier. The trout carried the Indian soul through transmigration into an other existence in the supernatural or reincarnation. All this belief worked for the betterment of the Indian food in reality - faith in the supernatural."
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“Among the Indians, as among other nations, some people are born artists, but most are not. I am a born artist. I have as much interest in my people as any anthropologist, and I have studied our culture and lore. My aim is to reassemble the pieces of a once proud culture, and to show the dignity and bravery of my people.”
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"Now, when I paint a picture I just alow myself to be used. I pick up the pencil and the canvas. I allow the interaction with soul to reflect in the mind, to put down these images of people, men or women or children especially. I may draw a hundred children, but there is never the same colour."

"Many times people tell me that I’ve cured them of something, whatever’s ailing them. But I didn’t do anything. It was the colour of the painting that did it. But now it’s even much stronger. The healing is much stronger than it ever was. What I finally find is this: We could live with turmoil and the anguish in everything and still we could feel contented and happy and compassionate. What we got rid of is the stress with colour.”

"As for the colours, one was for the heart, one was for the bum, one was for the arms, one was for all the different kinds of sicknesses."

"A long time ago, maybe two or three hundred years ago, before white men were around, some people were worried about what was going to happen.... so they went to talk to a shaman. They asked him if he could find out. The shaman went to a sacred place and started singing and drumming. He beat on his drum harder and harder until he jumped right out of his body and began to rise up in his consciousness. He went up to the third astral plane where he could fly through time. He flew through time until he reached the year 2000 and then came down to look around. Below him he could see hundreds, thousands... more than he could count... millions of ants travelling down well traveled trails... and mountains sticking out of the plains like giant ice crystals, reflecting the sun back into his face. When he returned to his own time he told the people about what he had seen. He told them that what ever these creatures were, there was lots of them and they were coming."
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"All is well"
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"We natives believe in the following saying: "Our God is Native. The Great Deity of the Five Planes is so. We are neither for nor against, We speak not of Christ nor of God. We say, 'Let them be. 'We follow the Spirit on its Inward Journey of Soul through attitudes and attentions. Remember we are all in a big School and the Inner Master teaches us Experience over many Lifetimes."

"I have always been attracted to religious paintings, but only the ones that had that mystical or supernatural quality in them, especially Saint Teresa by Bernini. Just looking at Saint Teresa I get some kind of vibrations from it. I can close my eyes and feel them. That's great art, and it brings on that tingling sexual feeling. Other saints, like Saint Sebastian, do that as well. But the Christ figure was always the one that was dominant for me.That's why I say that Christ to me is still the greatest shaman, and that is why some religious visions are so complex, and so very hard to explain to people."

"Years ago I was walking down the street in Winnipeg feeling sorry for myself. A man was walking towards me, He had long hair and a leather jacket, and as we meet he said,"Things are not as bad as we think". I looked away for a second and when I looked back he was gone. I never saw that man again."

"Just as a fish swims in any clear northern lake (in a medium that is virtually invisible to the eye) so we, if we are to live all right, should realize we live in a dimension on which our very existence, as people and artists, depends. The dimension is that of connectivity in life shared together in mutual respect… Fish, in spawning runs, seem to urge each other on, to reach safe and secluded lakes, with plentiful food supplies. Once there, they can live more non-competitively."

"Why am I alive? To heal you guys who are more screwed up than I am. How can I heal you? With colour. These are the colours you dreamt about one night."

"I can live anywhere. I can paint anywhere. I have painted six panels of the Man Who Changed Into a Thunderbird. All these paintings came from within. I don't need to isolate myself to do them. I can paint them here, there or anywhere. A pipe band could be going by, or cars."

"I paint with these colours to heal, my paintings honour the Anishnaabe ancestors who have roamed the Great Lakes for centuries upon centuries."

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"We are all one"
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"My people believe the earth to be their mother and that we are children of the earth. In spirit we are one with our environment."

"Personally I am not thinking about myself truthfully in this present year but years ahead when I am death for the children of mine and the generations of my people to feel proud of the art heritage of the Ojibway and every nationality is proud of its culture."

"We Are All One in Spirit"

Others about Norval Morrisseau:

"How was it possible for this youth to reach back to the old feelings, to conceive the images that would bear the unmistakable stamp of his people? How could this firm pride originate in a community relegated to the status of third class citizens, constantly reminded of this status and defeated by it? What was there about this lad that earned for him in a medicine woman's dream the combined names of a powerful spirit and the metal traditionally sacred to the Lake Superior Ojibway- Copper Thunderbird?"
Selwyn Dewdney
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"...Norval, with his incredible ability with the formal problems of art (colour-design-space) and his commitment to the world of his people, the great Ojibway, give one the sense of power that only genius provides... It is sufficient to say that in the history of Canadian Painting, few have, and will remain giants. Norval shall."-
Jack Pollock

"Morrisseau's genius for unifying or braking space in his designs is astonishing, as sureness of line. It cannot be classed as primitive art, because both the ideas and the expression evince cultivated thought. As this mysticism has never been recorded he is breaking new ground."-
Pearl McCarthy

"Norval Morrisseau stands alone in his formal innovation and largeness of personal vision. He was the first Indian to study seriously and to update his own cultural beliefs and translate them visually for contemporary Indian and non-Indian audiences. In doing so he became the first Indian to break through the Canadian professional white-art barrier. His brilliance lies in his ability to break away from his own conventions, to constantly renew his vision." -
Elizabeth McLuhan

"He is one of the greatest painters Canada has ever produced. One day we were looking at the Group of Seven and he commented 'They paint trees, I paint loons and they connect to the sky'". -
Tom Hill

"Norval, like all innovators, had made a trajectory to contemporary cultural theory, an idea I was not to understand until quite recently. It situated Norval at the centre of a cultural transformation, contemporary Ojibwa art. This legendary artist had created a visual language whose lineage included the ancient shaman artists of the Midiwewin scrolls, the Agawa Bay rock paintings and the Peterborough petroglyphs. As a master narrator, he had a voice that thundered like the sentinel of a people still listening to the stories told since creation.” -
Robert Houle

"I believe that when Canada 'disappears', Morrisseau will remain. I believe history will note that Norval Morrisseau will be better known than Pablo Picasso. He's more original."-
Robert McMichael

''He was a role model, visionary and seminal force throughout Native America and Canada. We were especially fortunate to have the great man himself present at the opening of his major retrospective, 'Norval Morrisseau: Shaman Artist,' at our New York City museum. Through his groundbreaking and vibrant works, he positioned his rich indigenous heritage squarely within modern art; a revolutionary and uplifting achievement that influences contemporary culture through today.'"-
Kevin Gover
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"Norval Morrisseau's most significant and enduring achievement will be measured over generations as the lasting impact of his greatest ambition - to instill pride - makes itself felt in the art of new artists compelled to create by his masterful paintings."

Greg A. Hill

"Their great appeal partly derives from Mr. Morrisseau's marrying of an understanding of Indian spirituality with his own formal ambitions as a painter... New York has many museums with countless exhibitions, but it's been a long time since I saw a show of such potent spirituality, warmth and feeling."

Benjamin Genocchio

"Norval Morrisseau's courageous and often controversial approach to his work was instrumental in encouraging First Nations people to know their spirituality, history and culture in order to better understand themselves. He taught us to be proud of who we are. He inspired countless other First Nations people to pursue a career in the arts. His legacy will remain with us and continue to inspire all Canadians for many generations to come."

Phil Fontaine

"Morrisseau was committed, from the very start, to preserving the stories and myths of his people. He never wavered. As troubled as his life was, he also went through it with this incredible sense of mission."

Paul Carvalho

"He was a courageous Aboriginal painter who, through perseverance and faith in his gift, was able to break through enormous cultural and racial barriers to bring his art not just to Canada, but to the world."

Chuck Strahl

"He has been described as perhaps the greatest native artist who ever lived - a primal visionary who gave form to the Ojibway legends and myths told to him by his maternal grandfather Moses "Potan" Nanakonagos."

Lloyd Dolha

Thursday, March 27, 2008

Understanding Art of Norval Morrisseau (Part II)

An example of genuine Norval Morrisseau painting from the 1970s
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"Energy Transformation"- acrylic on canvas, approx. 28"x 44", © 1976 Norval Morrisseau /Purchased from reputable Toronto gallery - Private Collection/

The above painting represents energy transformation of the spiritual powers in the presence of the Creator, Mother Earth and shamans (Note: two shaman images could have also represented one shaman in different stages of spiritual development).

Shamans are protected within spiritual realm and power lines connect the rattles that are represented as arm extensions. Yellow colour is representing protection from the Creator while green colour represents everlasting presence of Mother Earth.

Shamans are sitting on stones that are considered sacred due to the fact that they had been pushed up to the surface from the heart of Mother Earth. There are seven stones that represent seven teachings of the Ojibway or seven teachings from seven grandfathers: wisdom, love, respect, bravery, honesty, humility and truth.

Power circles over shamans' heads and power lines that are connected to them express high level of spiritual powers that are present. Spirits that are emerging from their backs are representing communication with ancestral spirits (curly lines that are coming out of the spirits' mouths represent lines of speech or prophecy lines).

Cross-hatched lines inside of the shamans' bodies that are placed in the sets of four represent powers that spread evenly in all four cardinal directions (east, south, west and north).

Red colour represent blood-line of the tribe and their true connection with ancestral spirits.

White colour is the most sacred and spiritual colour that artist uses and in this painting he painted eye pupils to enhance spiritual powers of his vision.

Note: There is not any specific way to describe the art of Norval Morrisseau. The text included herein is just one way of experiencing his art. Norval Morrisseau's art can be experienced in so many different ways depending of the subject matter and the knowledge and spiritual inspiration of the viewer.

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See the following images for detailed observation of the above presented genuine piece of art of the Great Norval Morrisseau:

Click on image to enlarge

Click on image to enlarge (back of canvas)

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Please do not hesitate to contact me if any additional explanation is needed. In one of the next postings of: "Understanding Art of Norval Morrisseau" I will pay more attention in describing painting techniques that Norval Morrisseau used throughout his prolific career.

Meegwetch,

Spirit Walker

33 comments:

X-Ray said...: Dear Spirit Walker,

Thanks for caching up with the “Understanding Art of Norval Morrisseau” since 29 November 2007. I think a lot of people are eager to understand Morrisseau’s work as noted in earlier comments from several people in this blog.

Looking at the number of unique visitors since the last 24 days, this blog seem to be very popular, so I hope you will continue to do this “Understanding parts” for different area’s of Morrisseau’s career mid 50’s to 90’s.
Of course you need input from people who worked with Morrisseau over these years so I hope these people will contribute.

Thanks so far, and the above Morrisseau painting has a very powerful image.

Regards,
X-Ray; 28 March, 2008 18:33
Anonymous said...: Powerful image...maybe. Can it be authenticated? Purchased from a Toronto gallery...what provenance did they give you?

Here is a question. You purchase from a reputable gallery like KRG and the provenenance they give you is - Private Collection - Thunder Bay, ON Same provenance is given when purchasing from Maslak Mcleod. How does this really build any creditability to the provenance of a non-documented piece?; 31 March, 2008 11:48
Anonymous said...: KRG (Kinsman Robinson Galleries) is the last place I would buy Norval Morrisseau's art from due to the fact that they are fabricating stories about so called "questionable" painting in order to promote their own paintings and causing further confusion in the art market.

Is that the way to protect Norval Morrisseau's legacy KRG?

Mr.Rock; 31 March, 2008 12:33
Anonymous said...: Mr. Rock - can you authenticate any of the 1970's paintings in question. I presume not...

Can you prove that KRG is fabricating stories? I presume not...

FACT - KRG started a blog and is making a point by the use of pictures and facts. Can this blog do the same to authenticate paintings?; 31 March, 2008 12:59
Anonymous said...: Spirit Walker,

Thank you for the platform you are providing and all the hard work you putting into it.

Do not be provoked by the others that are possibly closely related to KRG or even KRG themselves are posting comments of this kind.

Thanks again for educating me and the others.

Regards,
Division Circle; 31 March, 2008 13:54
Anonymous said...: Sorry Division Circle but not associated with KRG in any manner. Fact is there are claims that these paintings are fakes and and so far no factual evidence presented to fight this. If any exists...please finally present it.; 31 March, 2008 14:39
Spirit Walker said...: To Anonymous - Please sign your postings at the bottom of the comment(s) you are placing... Thanks

You wrote: "Fact is there are claims that these paintings are fakes and and so far no factual evidence presented to fight this. "

Where is factual evidence to prove that these are fakes? If any exists...please present it.

Note: If anyone has a proof that "questionable" paintings from the 1970s are non-authentic I am providing you the platform to present your case and then let others decide for themselves where the truth lies. Let's come to the end of this debate...

Is enyone going to assist me?; 31 March, 2008 15:10
Spirit Walker said...: "thickblacklines" asked me how come that paintings from my collection have no history? Most of them do have history...

I am the one presenting the case here to defend those paintings from the 1970s. Nobody visting this blog is doing anything that will shed more light on these pieces of art which I believe are authentic.

I am inviting "thickblacklines" on "Skype" coversation if he is really serious about finding the truth about authenticity of those "questionable" pieces.

Meegwetch

Note: My "Skype" user name: spiritwalker2008. If not familiar with "Skype" go to www.skype.com.; 31 March, 2008 21:53
CoghlanArt said...: Hard facts are hard to come by in this situation. It is hard to prove authenticity when the artist is no longer available to confirm it. It is easy for those that want to legitimize these paintings from the seventies to say “prove it”. They must rely on this stance as they can not prove that they are real.

Some people have said that myself (Coghlan Art) and KRG are trying to manipulate the secondary market to promote the paintings that we have. This is ridiculous. The controversy has only softened the market and created fear. There are so many of these questionable paintings in the market place that it would be easy to accept them and make money on them. I am offered these pieces almost daily at far below market prices for legit Morrisseau paintings.

Here are some “facts” .

It is a fact that Morrisseau had assistants in the mid and late 70s and early 80s. Several of these “apprentices” have told me off the record that they had assisted on Morrisseau’s paintings during this time. Morrisseau would do the sketch and let the “apprentice” paint in the color. When the painting was finished , Morrisseau would sign it. This escalated into more and more paintings being produced with less and less input from Morrisseau until paintings were being produced with no input from Morrisseau.

It is a fact that none of these questionable paintings has surfaced that has provenance back to the Pollack Gallery. It is odd that none have had a Pollack Gallery sticker on it. The Pollack Gallery was Morrisseau’s main dealer at that time but none of the paintings that went through there were of the style of the paintings in question. “The Art Of Norval Morrisseau”, by Jack Pollack and Lister Sinclair, the definitive book on Morrisseau’s work from the 70’s does not contain one piece in the questionable style.

It is a fact that no provenance beyond “private collection” is offered on the questionable 70s paintings. If these paintings are truly Morrisseau’s from the 70s then they should have a history back to when they were obtained from him.

It is a fact that not one of these questionable paintings has been reproduced as a limited edition signed print.

It is a fact that I worked with Morrisseau for over 20 years. During this time I received 100s of paintings directly from him. Not one was signed, dated or titled on the back.

It is a fact that during the last 10 years of his life, Morrisseau dis-avowed these paintings many times. To me personally he said that something had to be done to stop these “Physic Leeches” (his words) from ripping him off. This talk began in earnest after Morrisseau returned from a trip to Ontario where he took part in a gathering on Manitoulin Island in 1999. There was a painting on the wall behind the stage that is in the questionable style. Although he did not want to create a scene at the gathering, it did piss him off. When paintings of this type began to surface on eBay he asked me to warn people that they were not his paintings. Morrisseau started the Norval Morrisseau Heritage Society to rectify the situation and to insure that these paintings were not included in his art history. His trip back to Toronto shortly before his death was all about these paintings. In his last newspaper interview he said that he had come to Toronto to ”Kick some ass”. He was referring to these paintings and the people that are selling them.

Bryant Ross - Coghlan Art; 01 April, 2008 00:17
Anonymous said...: SW --- Thickblacklines is not the only person asking this. There are a number of people viewing this blog that have asked the question or read this blog looking for the answers. Many who have purchased a Morrisseau in good faith and know are wondering what they purchased. If you have the answers that can authenticate these paintings why would you not post the facts here?

ALSO - your posting today of a 70's print does not resemble the questionable Morrisseau paintings discussed here. It is of the artistic quality that no one would question...different from the painting you have pictured attached this blog entry.

3-0; 01 April, 2008 10:01
Anonymous said...: TBL asks.
if you are not intrested in posting comments or questions here. I and other will start to ask those questions on other blogs.
you want people to participate but you appear selective, silent and at times very seceretive?
why?; 01 April, 2008 10:16
Anonymous said...: We keep talking about 70's painting and none of these paintings being connected back to Pollack Gallery. Fact also exists that there is a large number of quality paintings that exist from the 70's and 60's that never were sold by Pollack that exist in the market making up what is a strong secondary market opportunity. There are numerous paintings that were exchanged by Morrisseau during this time that were not associated with Pollack at all that are creditable. Norval Morrisseau: The Red Lake Year exhibited many fine examples of his work - none of which were connected to Pollack. They all are paintings that Morrisseau exchanged or sold directly to families (Carlson, Tingley, Shushack, etc) in the area. These fine examples are different then the ones discussed here from the 70's but we need to be careful not set the definition of a original Morrisseau from this time period as only ones the can be traced back to Pollack Gallery.

That being said, I presume this was not Bryant's intention but more a point being raised that with the large number of these questionable paintings why can not one of them be traced back to Pollack (or to Morrisseau himself).

AP; 01 April, 2008 10:47
Spirit Walker said...: Rather than going back and forth in never-ending fight for approval and disapproval of the paintings in question (or “questionable” paintings) from the 1970s why don’t we have conference call over the “Skype” this weekend (or tonight if some of you are available) before we confuse even more novice collectors, seasoned collectors and others. This is the only way we can come to some conclusions. I know many people who were closely associated with Norval Morrisseau but unfortunately they prefer to be silent.

Anyone interested to talk?; 01 April, 2008 12:01
Anonymous said...: Why would anyone having information that could clear this up want to remain silent? Why would they want to leave the market in the current state when they could do something positive. Sharing what they know would only increase the value of these paintings which I presume would be in their benefit. Why the silence???? It does not make sense...

Signed
Likely to be delete message; 01 April, 2008 14:01
CoghlanArt said...: Of course I am not suggesting that all Morrisseau's paintings in the 70s went through the Pollack gallery. But Morrisseau always sold paintings where ever he could.But many of them did go through the Pollack Gallery. It would be reasonable to assume that if these 70s paintings are real, some would have gone to Jack Pollack. It is not reasonable to think that Morrisseau painted in one style for Pollack and in another for sales to other people.
Bryant; 01 April, 2008 19:44
Spirit Walker said...: His name is Jack Pollock and not Jack Pollack... just to to clarify :-); 01 April, 2008 19:53
CoghlanArt said...: You are right. I did spell Pollock wrong. I have always been a terible speller.
In a previous posting I also spelled Psychic Leeches wrong. I asked Spiritwalker to correct it for me but he has not responded.
Psychic Leeches was a term used often by Morrisseau to describe people that claimed to know Morrisseau better than he knew himself. When he read descriptions of his art written by people that he did not know he would laugh and say "more Psychic Leeches".
Bryant; 01 April, 2008 20:14
M said...: This post has been removed by the author.; 01 April, 2008 20:18
Spirit Walker said...: Spirit Walker did not respond because he cannot change any of the text posted unless the comment is deleted and another one posted.

Hope this clears it... :-); 01 April, 2008 20:19
M said...: Bryant Ross of Coghlan Art makes a good point. Why is there no example of even one of these "questionable 70's' paintings going through the Pollock Gallery?; 01 April, 2008 20:20
Spirit Walker said...: I would love to post the proof if someone can provide it to me that so-called questionable paintings from 1970s are not authentic.

Does anyone has knowledge and/or courage to present their case that those paintings are not authentic? Words mean nothing if you cannot present the facts.

Do you think that the Senate of Canada have non authentic Morrisseau on their walls? Please check this link: http://norvalmorrisseau.blogspot.com/2007/11/norval-morrisseau-painting-at.html

Stay tuned. More to follow from Spirit Walker.; 01 April, 2008 21:57
Anonymous said...: Eric.C says.

why do "we" need to prove they are not authentic? should it not be up to you to explain how they are?
you and other vendors have this obligation.
how could you expect anyone to say the works are fake if we know nothing about them?
only you have that info.
please answer; 01 April, 2008 22:07
Spirit Walker said...: The best way to authenticate Norval Morrisseau paintings is by evaluating paint application on the face of the canvas. Nobody can copy his style of painting. Too bad we cannot organize some-kind-of Norval Morrisseau conference where many spekers will present their cases... Maybe one day that will happen.

By the way I am not a "vendor" of ant kind... I am a collector and admirer of Norval Morrisseau art.

I will present slowly my case which I believe is "Case for Justice" but others that are criticizing me are not presenting anything... just words.

Be patient and I will present more facts why I believe that those paintings from the 1970s are authentic.

Meegwetch; 01 April, 2008 22:26
CoghlanArt said...: The fact that spirit walker thinks I and others are critizing him says a lot about where he is coming from. I am critizing the questionable paintings from the 70s, not Spiritwalker.

I have stated 6 facts relating to the authenticity of these paintings. Yes they are just words, but it is a blog of words. How else can I state this case except with words.

Please give me some facts that prove the authenticity of these paintings
Bryant; 01 April, 2008 22:44
M said...: The paint application on the 'questionable 70's' paintings is different when compared to Morrisseau's with good provenance.
Why is that?; 01 April, 2008 23:08
M said...: The paint application on the 'questionable 70's' paintings is different when compared to Morrisseau's with good provenance.
This is a fact.; 01 April, 2008 23:15
Spirit Walker said...: To "M": Why don't you send me some images that you question their authenticity (higher resolution if possible") and then I will tell you if I believe that painting is authentic or not... if you want to challenge me show some other weapons than words alone. Oh my God... it is getting more and more fun on the Morrisseau front :-).

Is anybody there who can challenge me with other means than just using words? Images... I want images to be presented to me?; 01 April, 2008 23:31
M said...: Norval himself said that 'others' had painted these 'questionable' paintings, should we not believe the artist?

I do not wish to argue with you, I believe you are sincere in your admiration for the artist Norval Morrisseau as am I. I do believe you are searching for the truth.

But the fact is that if you open your eyes and look at the 'questionable 70's' art that Norval disavowed authorship to it has a different look to it compared with the 70's paintings that have good provenance.
Can you not see the difference?

But again, I believe you are sincere and I have no wish to argue, I only wish the best for you.

You have asked that you be provided with images. Look at the National Gallery Catalogue and the images in there. Look at the 70's art in 'The Art of Norval Morrisseau'.

Do you not see a difference in the style compared with the questionable art?

I do.

Respectfully,
M; 02 April, 2008 00:09
Anonymous said...: Eric C asks again.

the critics of these works can only state that the works presented don't look like the good works Morrisseau produced.
again, only you can help clear this issue by telling the blog where they came from?
It seems the blogmaster is allowing this debate to stall?
to simply show and state that a painting is by Morrisseau, and provide no other details. how can anyone debate this?????
if there is no other info on the works you present, than the debate for me is over as I don't see the works as authentic?
YOU must show US why they are. not the other way around.

just my point of view.; 02 April, 2008 08:36
Spirit Walker said...: I am going to show much more and I am going to prove much more. I was hoping someone will step in with proofs in the form of detailed digital images of the paintings in question???

Due to the fact that I am a Blog Master and that I am the only one working on this Blog - every detail and proper presentation takes time. It seems to me that all of you have not much choice than to wait for my detailed explanations.

Is there anyone else who would like to contribute? If not, just wait for me for the presentation in my own "timely" terms. If nobody is willing to work with me on this heated topic how can you consider me allowing this debate to stall?

I am still waiting??? Eric C, thank you for your verbal contribution... is there any "visual" contribution from you in sight?

Is anybody there who can challenge/assist me with other means than just using words? Images... I want images to be presented to me? :-)

Meegwetch.; 02 April, 2008 08:59
Anonymous said...: sorry, no pics here.
I am not an art collector, but I do follow art blogs out of intrest only.
do we not already have enough pictures? why do we need more to get an explanation of the truth?
I have seen 100s ?
thanks Eric.; 02 April, 2008 09:03
Anonymous said...: Argument to Support Morrisseau Fakes in Market

1 - Pollock never sold one of the questionable paintings

2 - Not one of the questionable paintings can be traced back to the artist.

3 - Artistic quality of these paintings is very different from Morrisseau's with provenance

4 - Not one picture of painting similar to this ones in question exists in The Art of Norval Morrisseau or any print of a 1970's original painting

5 - Not one picture exists of Norval actually painting one of these questionable works but many exists of him painting quality paintings

6 - Norval himself when he was alive stated that these paintings were fake. To his final days he stayed firm to this.

7 - The NMHS consists of a number of recognized art experts that are committed to finding the truth. They are not in this for themselves and have been assembled to do the artist right. These individuals have much better things to do with their valuable time then to get in involved in an initiative like this if they do not see that a problem exists. Have a look at the bios of each member - impressive team.

8 - Family members and apprentices have admitted on the record and off the record that they have assisted in creating Morrisseau works

I could continue but I do not think I need to. It is clear that there is something fishy about these paintings. Because of this, the onus is on the owners of these paintings to present information to show us differently.

You should also take a read at a lot of your entries --- you consistently question yourself stating I BELIEVE. Do you believe or do you know? Big difference.

Re: the Senate. Perhaps the NMHS should assess this painting immediately on behalf of the Senate? If the Senate was sold a fake then they should take immediate action.

3 Owls; 02 April, 2008 10:15
Anonymous said...: Eric here again
I just looked at a posting in another blog about the documents a collector used to get an accurate finding and appraisal for his work.
info does seem to be out there, it is the obligation of the seller or owner to state that this work is authentic because.............
I would think that many of the posters here are very knowledgable and that is why they are suspect?
how does discrediting these works help them? there is no reason.
we all know "other" works exist, I don't think these galleries are acting in bad faith? just the opposite.
I just started reading this blog a week or so ago, and I have to admit it appears that there are only a dozen or so posters here, dispite the HTML counter numbers?
I've been a blogger for almost a decade, and can easily see this problems with this debate on this blog.
sorry. fishy, fishy...
to promote your point of view, you must prove all the skeptics wrong, not the other way.with facts..
thanks again.; 02 April, 2008 10:33

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Thursday, March 27, 2008

Understanding Art of Norval Morrisseau (Part II)

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