NORVAL MORRISSEAU BLOG: November 2011

Norval Morrisseau Quotes:

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"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."

"My goal is to break the barrier between the white world and mine. I wish only one thing, to be an artist and to be respected as one - and my paintings to be seen by all people."

"My heart and soul is reflected into my mind and my mind is reflected into my hands."

"From the first time I picked up the brush, painting became my passion. Over the years that passion has grown and strengthened. -

There is no other way to describe it. To paint is to live."

"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."

"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. -

Nevertheless I was determined to do it, for it is my destiny..."

"The Shaman Artist
Wishes to express to us
Through
The art form
That we are all
Like children-

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."

"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."

"Love for life is a gift"

“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.”

“What I teach the people many times is that attitude and attention will determine the whole course of our lives. Get rid of fear and that is all you ever have to get rid of. Fear of anything at all.”

“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."

"I guess I was increasingly seeking the art form and culture I was being taught, but there was none out there."

"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."

"I consider Manitoulin Island to be the most sacred place in Canada"

"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."

"Be who you are no matter how hard it is. Never mind the ridicule."

"Just be"

"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."

"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."

"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."

"The Ojibway believed the thunder to be a great massive bird called thunderbird, whose eyes shoot out lighting and thunder. The first thunder in early spring was something good to hear, for the Ojibway welcomed their protector again from its home in the south where it had been all the winter. Offerings of tobacco were placed on the ground or on water or put into stove to burn, or sacred pipes were smoked by the elders to the thunderbird in the early spring."

"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."

"Nepii-Naba, the merman, who brought good luck to those who offered him tobacco and, in return, helped Indians to travel safely on lakes and rivers"

“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.”

"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."

"I go to the inner places, I go to the source, I go to the house of invention."

"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.”

"So, if am in this World to deliver any messages I wouldn't want to be a preacher. I would want to be a painter"

"Let's put it this way. I know what is to be hungry and poor in cloths. But the spirit of one that is poor shall never be weaken by hunger, as hunger is good matter. This is what gives a man life and wisdom. I don't regret that I was hungry."

"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."

"All is well"

"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. So whenever you are looking at my pictures, you are looking at my visions, whatever they may be."

"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."

"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."

"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."

“They speak about this tortured man, me, but I'm not. I've had a marvelous time, when I was drinking and now that I'm not, a marvelous time in my life."

"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."

"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."

"The Ojibways have great respect for the Bear. According to their legends, in the distant past the Bear had a human form and was in fact an ancestor of the Ojibways. Therefore he understands the Indian language and will never attack or fight any Indian if he is addressed properly."

"As far as sex was concerned. I did everything under the sun. In those days I was a very sexually oriented person. But things change, things develop, and everything sooner or later dies. There are some things that grow, and you constantly have to sort out your thoughts and ideas."

"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."

"We are all one"

"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:

"When the history of the twentieth century art in North America is written, no chapter will be more dramatic or significant than that of the Anishnabe painters, the aboriginal people of the Great Canadian Shield. In the 1950's when it appeared that their culture was on the verge of being extinguished by the onslaught of the "white" civilization, there was a move by several individuals to preserve the ancient oral traditions by recording them in writing and in art. In so doing, the artist's developed a unique style, indigenous, distinctive, graphic, with a rare potential for narrative and an innate primitive beauty. By the very act of depicting legends, the artists defied centuries of taboos, and many interesting sociological events followed: a shift in the roles of shaman /artist/ hunter occurred in the Anishnabe culture; the art became a seminal force in a revitalization movement; and the entire Ojibway Nation, a people heretofore overlooked by the mainstream of history, was thrust suddenly into the spotlight glare of an art-loving public."
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Mary E. (Beth) Southcott
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"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?"
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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, the artist, is a teller of tales. But tales such as these are only as powerful as the power of the person who tells them. Behind the visual imagery lies the power of his personal recital of a legend. Behind the legend lies the personal vision that explains everything. It may be difficult to distinguish Ojibway mythic elements from personal ones, or to separate Indian versions of Catholic iconography from Morrisseau's own set of emblems. He is at his most Indian when he offers an explanation of what he is doing. The purpose of doing it may have been to share with the world a heritage of the Great Ojibway that is proud and full of worth. The reason for doing it is very Indian. Where other artists might claim logic, tradition or authority as justification, Morrisseau always justifies himself by the most Indian of all explanations: the imperative of a personal, unique and private vision, the only real consistency which lies at the back of all his work. Everything, ultimately, is validated by Morrisseau's unanswerable claim to be responding to the demands of that personal, unique and private vision."

Lister Sinclair

"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 blazed a path that many young artists followed. He was a great role model for younger artists. His courage, in confronting the oppression, the attempt by government policy which began in the 19th century to silence and hasten the end of traditional indigenous knowledge, it took great courage to confront that. He was an extraordinary man.”

Ruth Phillips

"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 -

"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

Tuesday, November 29, 2011

>>> Ritchie R. Sinclair's Incompetencies (Part I)

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* Below presented material has been previously posted on this platform

An introduction of an individual who single-handedly caused the greatest harm to the Norval Morrisseau Art Market and whose name is infamously connected with the Legacy of Norval Morrisseau...

... Ritchie R. Sinclair a.k.a. Stardreamer labeling five authentic Norval Morrisseau paintings as "Inferior Counterfeit Morrisseaus" /published in "Norval Morrisseau: Travels to the House of Invention", 1997/ articled below:

"Shaman's Astral Journey in a Dream State" (Detail),
© 1995 Norval Morrisseau-"Norval Morrisseau: Travels to the House of Invention" © 1997 by Norval Morrisseau/Kinsman Robinson Galleries; Key Porter Books Ltd., /ISBN: 1-55013-880-4/

Screen capture from www.morrisseau.com (30-MAR-2009) of the same book cover (Click HERE) when its webmaster Ritchie 'Stardreamer' Sinclair called it an "Authentic Norval Morrisseau" (NOTICE FOR THE "COURT FILE No. CV-08-00366828" HAS BEEN OMITTED FOR THE PRESENTATION OF THIS POST!)
/Click on image to Enlarge/

>>> Approximately two and a half years ago someone had listed on eBay for sale, several pages from the book "Norval Morrisseau: Travels to the House of Invention". These page images of genuine Norval Morrisseau paintings were screen captured from Ritchie Sinclair's website: www.morrisseau.com and are still active on his website to this present day.

The following are opinions of Ritchie R. Sinclar a.k.a. Stradreamer regarding the paintings from the above mentioned book:

Image of an original Norval Morrisseau's painting presented in the "Norval Morrisseau: Travels to the House of Invention"; page 25 /© 1996 Norval Morrisseau/-

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Screen capture from www.morrisseau.com (30-MAR-2009) of the same painting (Click HERE) when its webmaster Ritchie 'Stardreamer' Sinclair called it an "Authentic Norval Morrisseau" (NOTICE FOR THE "COURT FILE No. CV-08-00366828" HAS BEEN OMITTED FOR THE PRESENTATION OF THIS POST!)
/Click on image to Enlarge/

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Image of an original Norval Morrisseau's painting presented in the "Norval Morrisseau: Travels to the House of Invention"; page 97 /© 1968 Norval Morrisseau/

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Screen capture from www.morrisseau.com (30-MAR-2009) of the same painting (Click HERE) when its webmaster Ritchie 'Stardreamer' Sinclair called it an "Inferior Counterfeit Morrisseau" (NOTICE FOR THE "COURT FILE No. CV-08-00366828" HAS BEEN OMITTED FOR THE PRESENTATION OF THIS POST!)
/Click on image to Enlarge/

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Image of an original Norval Morrisseau's painting presented in the "Norval Morrisseau: Travels to the House of Invention"; page 103 /© 1970 Norval Morrisseau/

/Currently part of the Collection of Fred Jones Jr. Museum of Art, University of Oklahoma, Norman, USA - Gift of Dr. and Mrs. R. E. Mansfield, 2003; The Bridgeman Art Library; Image: FJJ 256488/

NOTE: The image of this painting was used as an illustration for April/May 2008 Beaver Magazine article titled 'Flying high with Morrisseau' - Mr. Robert Lavack's personal narrative which explores the author's flying adventures with Norval Morrisseau in Ontario's north.

Screen capture from www.morrisseau.com (30-MAR-2009) of the same painting (Click HERE) when its webmaster Ritchie 'Stardreamer' Sinclair called it an "Inferior Counterfeit Morrisseau" (NOTICE FOR THE "COURT FILE No. CV-08-00366828" HAS BEEN OMITTED FOR THE PRESENTATION OF THIS POST!)
/Click on image to Enlarge/

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Image of an original Norval Morrisseau's painting presented in the "Norval Morrisseau: Travels to the House of Invention"; page 109 /© 1979 Norval Morrisseau/-

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Image of an original Norval Morrisseau's painting presented in the "Norval Morrisseau: Travels to the House of Invention"; page 111 /© 1980 Norval Morrisseau/

/Currently part of the Collection of the National Museum of the American Indian (NMAI) - Smithsonian Institution; Formerly in the collection of R.E. Mansfield (1937-2007), donated to NMAI in 2003; Catalog number: 26/4096/

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Screen capture from www.morrisseau.com (30-MAR-2009) of the same painting (Click HERE) when its webmaster Ritchie 'Stardreamer' Sinclair called it an "Inferior Counterfit Morrisseau" (NOTICE FOR THE "COURT FILE No. CV-08-00366828" HAS BEEN OMITTED FOR THE PRESENTATION OF THIS POST!)
/Click on image to Enlarge/-

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Image of an original Norval Morrisseau's painting presented in the "Norval Morrisseau: Travels to the House of Invention"; page 113 /© 1981 Norval Morrisseau/

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Screen capture from www.morrisseau.com (30-MAR-2009) of the same painting (Click HERE) when its webmaster Ritchie 'Stardreamer' Sinclair called it an "Inferior Counterfeit Morrisseau" (NOTICE FOR THE "COURT FILE No. CV-08-00366828" HAS BEEN OMITTED FOR THE PRESENTATION OF THIS POST!)
/Click on image to Enlarge/

BLOG MASTER'S COMMENTS:

>>> This article was originally posted on April 1, 2009. Where it exposed Ritchie R. Sinclair a.k.a. Stardreamer who had labeled five authentic Norval Morrisseau paintings as "Inferior Counterfeit Morrisseaus". These paintings were published in the "Norval Morrisseau: Travels to the House of Invention", 1997 ; and are still active on his website to this present day. This book had been copyrighted by Norval Morrisseau and Kinsman Robinson Galleries.

The above presented findings clearly show that Ritchie R. Sinclair aka. Stardreamer cannot be trusted in a professional manner in regards to the art legacy of Norval Morrisseau.

On the same day, Ritchie R. Sinclair, who claims to be a Norval Morrisseau's 'chosen protégé ' , tried to post the folowing comment which I refused to publish:

"Shouldn't the fact that in my opinion these paintings are fakes and yet I've taken them out of KRG's book tell you something Ugo?
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I'm on Norval's side...unlike others money has not clouded my judgement...Why?

>>> Because I am an artist >>> The one Morrisseau chose >>> none of you are painters (with the exception of his forger sons) and none of you spent years painting right beside the master.>>>>>>>

I've been very patient with you Ugo because I thought you were worth the trouble.

>>>>> Those days are now over >>>

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You have 24 Hours to take down your defamatory statements about me. Alternatively I will have your site taken down and sue you for defamation.

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If you think I'm not serious ask your friends how they like dealing with the Canadian Court system and if Ritchie is up to the challenge.

>>>>>>>>>"

* Click HERE for this April 1st, 2009 unpublished comment.

NOTES: Ritchie R. Sinclair has never sued me for defamation.

His accusations would not hold up in a court of law.

For a detailed explanation of the defamation laws of the province of Ontario click HERE to read 'THE LAW OF DEFAMATION' article. The law states: "Truth is a complete defence. Malice does not negate this defence. For the defence to succeed, however, the words must be true in substance and in fact and according to their natural and ordinary meaning."

* Click HERE to view deleted post (with all pertaining comments) from KRG Blog, dated April 4th, 2009, showing Norval Morrisseau, Gabor M. Vadas, Ritchie R. Sinclair and Paul C. H. Robinson having a dinner at Donald C. Robinson's home to commemorate the book launch of the "Norval Morrisseau: Travels to the House of Invention" in September 1997.

>>> Reference posts:
- Who is Ritchie R. Sinclair a.k.a. Stardreamer?,
- The chronology of communication between Stardreamer and Spirit Walker, - The Tale of the Art of Norval Morrisseau /COURT FILE No. CV-08-00366828/, - Otavnik Vs Sinclair SC 09-00082782-0000 (Part VI) /COURT DECISION/, - Refuting the defamation of character by Ritchie Sinclair a.k.a. Stardreamer (Part I), Refuting the defamation of character by Ritchie Sinclair a.k.a. Stardreamer (Part II).

* All of images of the paintings in this post: © Norval Morrisseau

Saturday, November 26, 2011

Authenticity known

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* This post had been originally published on May 27th, 2008-

by Ross Montour
May, 2006
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Two weeks ago I attended a major retrospective of Ojibwa artist Norval Morrisseau at Canada's National Gallery of Art. There is nothing 'western' about Morrisseau's art. It grows powerfully and organically out of his own people's Native tradition. It makes no apologies on behalf of its creator - indeed it confronts western sensibilities and announces its own potency. Morrisseau could care less if the 'white man' never declared him credible; he knows his authenticity. Like the great Nanibooshou of his people's legends, Morrisseau shakes his great head, lays down his foot and the leaves fall from the trees. Compare this to European art at the turn of the last century. Photography, a creature of western technology, had only recently reared its head prompting artists to run for the cover of ingenuity. "Something new, something new," became the 'Om' of art. That most deconstructionist of artists Pablo Picasso sheds an interesting light on all of this. When he and others in his circle began co-opting forms from oceanic and African cultures it was an admission of the desperate extremes western artists would go to in order 'break new ground.'

And while their adoring publics were tittering about the greatness of these new maestros' wild and carnivorous works, the newly reforming masters of orthodoxy continued to mischaracterize the sources of Picasso et al's 'inspiration.' They continued to look down their noses at the 'primitives' (savages) who truly created the source art and their cultures. In Canada, Native artists who painted in styles and forms that grew authentically out of their own cultures had to live with the fact that in their own land their works were 'banished' from the cultural temples of white society - i.e. the major public art galleries. For over 40 years the 'esteemed' Art Gallery of Ontario revealed its ethnocentricity by declaring the works of Morrisseau and others as being fit only to be shown in ethnographic and natural history museums. How barren!

Back to the Morrisseau exhibition in Ottawa. After viewing the showing, my wife and I decided to take in the works of the permanent collection. Walking through hall after hall of Flemish masters and Italian renaissance masters etc., we stumbled across a room labeled 'New York School.' Entering the room we were immediately confronted by two massive colour field paintings by Barnett Newman. One of these - 'Red Stripe' [1] - was a triptych nearly 20 feet in height. It almost demanded an act of worship be done. I laughed out loud because, for one thing, it reminded me of my first viewing of 2001: A Space Odyssey. Remember the scene at the end when the cavemen come upon the huge blank monolith, the drums pounding out the rhythm in the soundtrack... Enigmatic to say the least! In the end they worshipped nothing. My sincerest thanks for your patience in reading this rant. I make no apology though - I am, after all, a Mohawk.

Ross Montour
Kahnawake, QC, Canada

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[1] - 'Red Stripe' is referring to the Barnett Newman's 'Voice of Fire'.

Source: Robert Genn's "The Painter's Keys"

>>> Reference post:
- The exhibition that ended institutionalized discrimination against First Nations art at the National Gallery of Canada.

* The painting in this posting: "Shaman Warrior", 48"x23", © 1990s Norval Morrisseau /Private Collection/

Friday, November 25, 2011

Partial Solar eclipse is happening TODAY

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"Grandfather Speaks of Great Ancestral Warrior",
© 1977 Norval Morrisseau ~ Click HERE to view reverse side of canvas or click HERE to read about this painting's history ~ /Click on image to Enlarge/

"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."

Norval Morrisseau

* The acrylic painting in this post: "Grandfather Speaks of Great Ancestral Warrior", 61"x58", © 1977 Norval Morrisseau; Click HERE to view this painting offered for sale at Heffel Fine Art Auction House in September 2006

Thursday, November 24, 2011

>>> TOMORROW, Genuine Norval Morrisseau painting auctioned at Joyner Waddington's

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Auction of Important Canadian Fine Art

"Nature As One", 48"x30", © 1977 Norval Morrisseau
~ Click HERE for inscription on the canvas VERSO
/Click on image to Enlarge/

>>> This, genuine Norval Morrisseau acrylic painting on canvas is going to be auctioned TOMORROW (November 25th, 2011 at 10:00 AM) at JOYNER Waddington's in Toronto, Ontario; Lot #126 (click HERE or HERE).

Provenance:
Maslak McLeod Gallery, Toronto; Owner, Mr. Joseph McLeod
Private Collection, Nova Scotia.

Auction Estimate: $10,000 / $15,000

Location:
275 King Street East, Toronto Ontario Canada M5A 1K2
Tel: 416.504.5100; Toll Free: 1.877.504.5700; Fax: 416.504.6971
E-mail: joyner@waddingtons.ca ; Website: joyner.waddingtons.ca

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>>> Reference posts:
- Genuine Norval Morrisseau painting removed from Levis Online Auctions?,
- Genuine Norval Morrisseau painting offered for sale at LEVIS Auctions,
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part I); "LEVIS Online Auctions", Calgary, Alberta.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part II); WALKER'S Auction, Ottawa, Ontario.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part III); Randy Potters Estate Auctions, Port Hope, Ontario.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part IV); RITCHIES Auctioneers, Toronto, Ontario.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part V); HODGINS Art Auctions Ltd., Calgary, Alberta.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part VI); Heffel's Auction House, Toronto, Ontario.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part VII); SEAHAWK Auctions, Maple Ridge, BC.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part VIII); LUNDS Auctions, Victoria, BC.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part IX); EMPIRE AUCTIONS, Toronto, Ontario.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part X); "LEVIS Online Auctions", Calgary, Alberta.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part XI); HODGINS Art Auctions Ltd., Calgary, Alberta.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part XII); WALKER'S Auction, Ottawa, Ontario.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part XIII); WADDINGTON'S Auction House, Toronto, Ontario.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part XIV); Sotheby's Art Auction House, Toronto, Ontario.
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part XV); Sotheby's Art Auction House, Toronto, Ontario.
- Recent Sales of Genuine Norval Morrisseau's Art at Sotheby's - A Review
- Norval Morrisseau Authentic Paintings at Auction Houses Across North America (Part XVI); Clarkson Auctions and Movers Inc., Stouffville, Ontario.

* The acrylic painting on canvas in this post: ""Nature As One", 48"X30", © 1977 Norval Morrisseau; AUCTIONED at JOYNER Waddington's in Toronto, Ontario; Lot #126 (click HERE)

THANKSGIVING 2011 (USA)

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~ Originally published on 'Anishinaabe Blog' on 10/11/2009

>>> Celebration of the holiday which is celebrated each year on the second Monday of October in Canada and on the fourth Thursday of November in the United States (ancestral land of the Chippewa or Ojibwa people)

"Looking Northward", © 1970s Norval Morrisseau
~ Issued on a post card to benefit UNICEF
/Click on image to Enlarge/

Giving Thanks for the Good Life

This is the weekend that Canadians, or those of us who live in Canada, give thanks for all that we have in life. It’s an occasion for families to get together. When students come back from school. Where were can sleep away our turkey-induced coma following a massive, but delicious Thanksgiving dinner.

It’s more a secular kind of thanks, though. For Anishinaabe people, and many other practitioners of middle-eastern and eastern religions – giving thanks happens each and every day.
-We give thanks for life. In Anishinaabemowin, we say: miigwetch mno-bimaadiziwin. “Thank you for this good life”.

Mno-bimaadiziwin is more than just a phrase, or general philosophy. It can be said that mno-bimaadiziwin in the thesis for all for Anishinaabe people. Western culture likes to debate “the meaning of life”. For the Anishinaabeg, mno-bimaadiziwin IS the meaning of life.

Long before the colonization of our lands, before our people were exposed to assimilation, Christianity, and european education – our children were taught the ways of the Anishinaabe. One of the most basic teachings was that of balance. The responsibility that human beings were given to look after our friends, family, Mother Earth and ourselves in a balanced way.

The most basic of these teachings is the path of life.

Many Anishinaabe people have heard of the Seven Grandfather teachings. However, before you are to learn of those gifts, our children are taught that there are seven opposites and how to recognize those divergent paths and how they will take you of the sacred “path of life”. This path is called mno-bimaadiziwin.

Once you learn the basics of mno-bimaadiziwin, you can spend a lifetime learning and living the values of Love, Respect, Honesty, Bravery, Truth, Humility and Wisdom.

The word used most loosely in Indian country is the word “teachings”. Teachings are more than a list of seven words. Teachings are more than the words of your wise local Elder. True Anishinaabe teachings have significant substance to them in the form of (1) specific narrative in the language, (2) history, (3) instruction from sacred law, (4) context, (5) songs and (6) ceremonial rites; and (7) action and following through with what you’ve learned.

Even Eddie Benton-Banai, who first translated the Seven Grandfather teachings in the English language (The Mishomis Book, 1979) would be the first to say that these seven teachings offer much more the significant chapter he dedicated in his book.

What Bawdwaywidun offered was a simplified, English pre-amble to the most significant teachings in the Midewiwin society. In reality, the narrative of the Little Boy and the Lodge of the Seven Grandfathers, and each of the seven teachings was something that lasted twenty-one years for the Little Boy.

Sadly, much of that detail has been lost to history – but the Three Fires Lodge and other Midewiwin lodges across the territory continue to carry much of those specific teachings to this day.To learn them, or just to hear them, requires commitment, preparedness, faith, an open heart and an open mind. They are open to anyone to learn. All you need to do is bring your tobacco to the Lodge.

But they can’t be found in any Masters program or new age retreat. Nor can they can’t be found next to the taco stand at your annual pow-wow, or in any one-hour teaching wigwam prior to Grand Entry. As Bawdwaywidun has been known to say: “Come to the Lodge”.

Bob Goulais

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Source: 'Anishinaabe Blog'
* Blog by Bob Goulais

>>> Reference posts:
- Seven Gifts From Seven Grandfathers &
- TEACHINGS OF THE SEVEN PROPHETS: THE SEVEN FIRES.

* The painting in this post: "Looking Northward", © c. 1970s Norval Morrisseau

~ Norval Morrisseau together with other Canadian native painters had given their art to benefit United Nations Children's Fund UNICEF: "Giving Life" by Jackson Beardy, "Thunderbird" by Clarence Wells, "The Spirit of Life" by Sam Ash and "Anticipation" by Roy Thomas.
>>> Set of 20 post cards included 4 of each of the obove listed art pieces.

Wednesday, November 23, 2011

The Best Provenances of Norval Morrisseau Artwork (Part VII)

~ This post was originally published on September 30th, 2011

"Untitled", © late 1970's Norval Morrisseau
~ PROVENANCE: originally traded by Clifford and Eleanor Whetung with Norval Morrisseau for an exchange for items from their Whetung Ojibwa Crafts and Art Gallery at Curve Lake First Nation, Ontario CANADA
/Click on image to Enlarge for a Closer Examination/

"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."

Norval Morrisseau-

Source: Private collector, Port Hope, ONTARIO

NOTE: Norval Morrisseau lived at Curve Lake First Nation, Ontario from 1979 to 1981 when he rented a house from Clifford and Eleanor Whetung.

BLOG MASTER'S COMMENT: Norval Morrisseau was known to use his fingers rather than the paint brushes alone to apply the paint on many artworks executed throughout his artistic career (click on the image above for a closer examination and pay attention to areas which were completed with use of finger(s) or click HERE for the proof of this statement - a "You Tube" video presentation showing Norval Morrisseau's use of his fingers while painting).

ADDITIONAL INFO FOR MORRISSEAU COLLECTORS:
This painting is still available for purchase at KIJIJI. For pricing and availability click HERE.

>>> Reference posts:
- The Morrisseau Legacy missing links (Part II)
/The Whetungs of Curve Lake/,
- Norval Morrisseau Painting Techniques (Part II),
- Norval Morrisseau Painting Techniques (Part IV),
- Norval Morrisseau Painting Techniques (Part V),
- Norval Morrisseau Painting Techniques (Part VII),
- The Best Provenances of Norval Morrisseau Artwork (Part I),
- The Best Provenances of Norval Morrisseau Artwork (Part II),
- The Best Provenances of Norval Morrisseau Artwork (Part III),
- The Best Provenances of Norval Morrisseau Artwork (Part IV),
- The Best Provenances of Norval Morrisseau Artwork (Part V) &
- The Best Provenances of Norval Morrisseau Artwork (Part VI). -

* The acrylic painting on canvas in this post: "Untitled", 45"x33", © c. late 1970's Norval Morrisseau; PROVENANCE: originally traded by Clifford and Eleanor Whetung with Norval Morrisseau for an exchange for items from their Whetung Ojibwa Crafts and Art Gallery at Curve Lake First Nation, Ontario CANADA
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Tuesday, November 22, 2011

The Norval Morrisseau Collection

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by www.londongalleries.ca

© 2005 londongalleries.ca
/Click on image to Enter/

About the Artist:

Born in Fort William, Ontario (now Thunder Bay) on March 14, 1931... into the Ojibway Nation, Norval Morrisseau became a legend in his own time... founder of the Woodland School of Art... presented the Order of Canada in 1978... honourary doctorates from McGill and McMaster Universities... major exihibitions in Canada, United States, Germany, and France... he has been called “the Picasso of First Nations artists”.

Norval Morriseau's colourful figurative images are delineated with heavy black lines and X-Ray images. His work is signed with the syllabic spelling of “Copper Thunderbird”, the name bestowed upon Norval, the first grandchild, by his Ojibway grandfather.

This collection of canvas giclées represents in part, a body of his work, acquired directly from the artist during the 1980’s, when Norval resided on the West Coast of Canada.

Bonnie Edwards Kagna MacFarlane
Collector and Author

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SOURCE: www.londongalleries.ca

>>> Reference posts:
- Friends of Norval Morrisseau (Part IX) /Bonnie Edwards Kagna MacFarlane/,
- Friends of Norval Morrisseau (Part VIII) /Leona Lattimer/,
- The Edwards Collection (Part I),
- The Edwards Collection (Part II),
- The Edwards Collection (Part III),
- Ojibway Word of The Day (Part II) &
- Norval Morrisseau Blog's endorsment by Bonnie Edwards Kagna MacFarlane.

* The acrylic paintings in this collection © 1988 Bonnie Edwards Kagna MacFarlane. PROVENANCE: All paintings acquired directly from the artist in 1987. Image Copyright in accordance with an agreement with Norval Morrisseau, June 11, 1988.
/Signed by Norval Morrisseau; witnessed by Gabor M. Vadas/

North American Indians in the Movies (Part II)

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Will Sampson (1933-1987)

By 96RunningBear

Josey Wales: "I came here to die with you, or live with you. Dyin' ain't so hard for men like you and me. It's livin' that's hard. When all you've cared about has been butchered or raped. Governments don't live together, people live together. With governments you don't always get a fair word, or a fair fight. Well, I've come here to give you... either one. Or get either one from ya. I came here like this, so you know my word of death is true. And my word of life, is then true."

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Ten Bears: "There is iron in your words of death, for all Comanche to see. And so, there is iron in your words of life... No signed paper can hold the iron. It must come from men. The words of Ten Bears, carries the same iron of life and death. It is good that warriors such as we meet in the struggle of life, or death. ... It shall be life."

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>>> For more information about Will Sampson click HERE and for more informationa about "The Outlaw Josey Wales" click HERE.

>>> Reference post:
- North American Indians in the Movies (Part I).
/Ref.: Chief Dan George/
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Monday, November 21, 2011

Norval Morrisseau Exhibition Posters (Part III)

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AVIVA 26th ANNUAL ART SHOW
/April 18, 1978/

"Mother and Child", © 1978 Norval Morrisseau
~ Poster size: 30"x22" /Click on image to Enlarge/

"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."

Norval Morrisseau

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>>> Reference post:
- Norval Morrisseau Exhibition Posters (Part I) &
- Norval Morrisseau Exhibition Posters (Part II).
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Studying Norval Morrisseau: Research project begins on well-known local artist

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/November 11th - December 7th, 2011/-
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"Untitled" (Thunderbird), © 1960's Norval Morrisseau

the Northern Sun News; Published on November 16th, 2011

Red Lake, Ontario: Famous artist Norval Morrisseau was the topic of conversation when Jessica Wilson and Gaye Sihin stopped by the Red Lake Regional Heritage Centre last Friday. Representing Westerkirk Works of Art out of Toronto, the two are visiting the area in search of told and untold stories about the man who lived in Red Lake from 1959 to 1973.

“We are here doing research for two projects,” explained Wilson on November 11th. “The first project is we are putting on an exhibit with the Assembly of First Nations for their Annual General Assembly next year in Toronto. We work for an organization that has a collection of Norval Morriseau paintings and we are doing some research for a catalogue that is coming out.”

The second project Sihin says is a little less defined. The pair is looking to record interviews with district residents who interacted with the late artist during his time in Red Lake. “Similar to what happened today it is another medium to document and archive information and maybe one day we will have a documentary.”

Morrisseau lived in the Red Lake district for 13 years and spent much of his time depicting Ojibway legends on birchbark, plywood, mill paper, and canvas, some of which can be found in private collections of local or former area residents. Since his death in 2007 Morrisseau’s work has become well known around Canada and now Wilson says the unique style is spreading internationally.

“We really believe he is a pioneer with a truly unique style that is inspiring a whole generation and movement of artists and it is very rare to say that,” characterized Wilson when asked why study Morriseau. “In our own country we are learning about how his art has spread into Europe and his style. People are collecting his work all over the world. We really believe he is more important than he has been given credit for, even though the National Gallery has given him a show, I think that you can’t do enough to promote his art work.”

The duo will be splitting their time between Sioux Lookout and Red Lake until December 7th and encourage all who have a story to tell about interactions with the man to seek them out to be part of the current project. “We came to Red Lake in the hopes that we would meet lots of people who have had experiences with Norval when he lived here and also we would like to learn more about the legend of the area to help us interpret his art,” said Sihin.

Wilson adds no story is too inconsequential. “I think even if they don’t think it is important, like Norval just stopped by one day and grabbed a cup of tea and tried to sell his art work – we want to hear that story.”

The art enthusiasts can be reached by calling (416) 903-4293, by emailing curator@wwoa.ca, or through the Red Lake Regional Heritage Centre.

Jennifer Thurbide

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Source: the Norhern Sun News - your community newspaper; proudly serving Red Lake, Ear Falls & Northwestern Ontario

* The painting in this post: "Untitled" (Thunderbird), "30"x62", © c. 1960 Norval Morrisseau /Collection of the Red Lake Museum/

"WE ARE ALL ONE IN SPIRIT" Norval Morrisseau

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