Honouring Norval Morrisseau

Thoughts about Norval

noreply@blogger.com (Raven) — Sat, 24 May 2008 04:01:00 +0000

Norval meant a lot of things to a lot of different people. Actress and fellow National Aboriginal Achievement Award winner Tantoo Cardinal recently shared her thoughts with me about Norval Morrisseau and permitted me to share the following with Blog readers:

We've met but never in a situation where I had the opportunity to spend time with him. Ours was a natural and intrinsic connection. He inspired me in my early, early days when the world was big. His work was an encouragement of 'Stick to what is real... Stay to the core; your base.'

He is one of the people in the 60's who were saying: 'Be who you are no matter how hard it is. Never mind the ridicule.'

That was a time of great change for us. Our people were unrolling from the position of being beaten and driven into the ground in shame, coming out of that brainwashing that we were of no value in this society.

Tantoo is a world class actress who has worked with people like Kevin Costner, Anthony Quinn and Brad Pitt. She recently finished a project with Adam Beach titled Older Than America.

"Mishipizhiw" Copyright © 2008 Gabe Vadas. All rights reserved.
Used with permission.

Mishoomis Speaks (fake paintings)

noreply@blogger.com (Raven) — Fri, 23 May 2008 16:15:00 +0000

I begin this post by explaining the use of the term "mishoomis" when referring to Norval. Mishoomis is the term Ojibwa use for grandfather. It is often used for Elders not only as a sign of affection but also as a sign of great respect for the person being referred to.

There are many interesting things said by mishoomis during his lifetime. For example, in August 2004, he issued a statement about the current crop of fake Morrisseau paintings:

Click on Image to enlarge.
Copyright © Bryant Ross 2008. All rights reserved.
Used with Permission.

Everyone I have spoken to on this journey of discovery has said to me that mishoomis was often a very direct person if angered. I interpret his above statement as a manifestation of that anger.

Late in 2007, a new blog was created that published images of paintings which Morrisseau's estate, Bryant Ross and Kinsman Robinson have all labeled as questionable paintings. In fact, those who knew him indicate that Norval himself stated these paintings were not done by his hand and this was the impetus for the creation of the Norval Morrisseau Heritage Society (NMHS). The NMHS will be issuing a Catalogue Raisonne in the near future to begin addressing this issue in a formal manner. There will be some very disappointed collectors and some museums will eventually find themselves questioning parts of their collections.

These "questionable paintings" are reported to have no Provenance which leads them back to Norval Morrisseau and they are crafted in a style of painting unfamiliar to those who study and know the works of Norval Morrisseau or whom are considered recognised experts by the artistic community.

This particular style of painting has never been included in any official Morrisseau exhibit as the artist did not recognize these paintings as authentic during his lifetime. In actual fact, I have been informed that Norval referred to these paintings as "abominations."

One person who has criticized these "questionables", Bryant Ross, had a personal and professional relationship with Norval Morrisseau dating back decades. He is often attacked for his criticisms, which are gently put, regarding these paintings and issued the following statement in December 2007 about this blog which published, and continues to publish, images of these paintings:

Norval Morrisseau Blog

There is a new blog that is on the web. It presently is full
of negitve energy, some of it directed at me. This is mostly
by people trying to legitimize paintings of questionable quaility.
Because I seek the truth, I can take the heat.

This blog could be made into a postive force.
I ask you to read it and leave your comments as you see fit.

In the interim, I hope to provide an independent resource on mishoomis for those who aren't interested in the negative energy Bryant has referred to. Perhaps the positive energy mishoomis and Bryant were hoping for has manifested itself here. I thank you for your continued participation and feedback which is much appreciated.

Raven Thunderbird

Note: This post was rewritten and republished due to the mis-attribution of a statement originally made by Bryant Ross. Thanks to Bryant for pointing out the error.

Mishoomis Speaks (And so does Michele)

noreply@blogger.com (Raven) — Thu, 22 May 2008 05:12:00 +0000

"Family"
From the Private Collection of Gabe and Michele Vadas
© Copyright Gabe Vadas 2008. All Rights Reserved.
Used with Permission

Norval Morrisseau was abundantly clear about the importance of Gabe and Michele Vadas, as well as their children, in providing a stable family unit and a nurturing relationship he valued. He did this through words and art. Norval's painting titled "Family" defines and acknowledges his chosen family unit consisting of Gabe, Michele, Robin and himself. Norval gifted this to Gabe and Michele. To the Vadas family, this particular Morrisseau painting means far more than any collector could imagine;

"I wouldn't sell this painting for anything."
Michele Vadas, March 2005

Mishoomis Speaks (About Gabe Vadas)

noreply@blogger.com (Raven) — Thu, 22 May 2008 04:55:00 +0000

Gabe Vadas and Norval Morrisseau, 2007
Image © Copyright Gabe Vadas 2008. All Rights Reserved.
Used with Permission.

"He's the son I've been dreaming about for 20 years."
March, 2005

Morrisseau Magic @ The National Gallery

noreply@blogger.com (Raven) — Wed, 21 May 2008 04:10:00 +0000

People who have never been in the presence of a piece by Norval are often moved by the experience when it happens. The first time I experienced a Morrisseau, I stood there staring, speechless. It was a very strong feeling which is still etched in my mind today.

When I first viewed this wonderful photograph taken at the National Gallery by Steven Goetz of Goetz Film, it brought back memories of that first experience. The photograph captures the power of the healing colours and I thought it would encourage readers to seek this experience for themselves either for the first time or once again.

There are some tremendous exhibits of Morrisseau art in circulation lately. Do yourself a favour and experience what some refer to as the "Morrisseau Magic."

Photograph © Steven Goetz 2008. All Rights Reserved.
Used with Permission
Click on Image for larger view

Rock Art

noreply@blogger.com (Raven) — Tue, 20 May 2008 05:28:00 +0000

After the introduction by Constable Sheppard, Norval had the opportunity to work with Selwyn Dewdney. Dewdney�??s interest in rock art (petroglyphs) assured a symbiotic relationship with Norval. Not only had Norval�??s grandfather taught him about these petroglyphs but Norval reportedly spent much of the 50s visiting Elders in other reservations to educate himself about these legends and rock paintings. So, Dewdney found himself with an eager and learned guide and Norval with a well connected artist interested in indian art. At this time, Norval took Dewdney to many local sites where photographs were taken of these ancient images for Dewdney�??s research.

In Dewdney�??s book �??The Sacred Scrolls of the Southern Ojibway,�?? the following photograph (highly contrasted for the book) can be found:

This petroglyph was clearly well known to Norval and became the inspiration for the following drawing attributed to Morrisseau:

This drawing was donated to an Indian publication in 1974 by a Manitoulin Island art student and subsequently destroyed in a fire in 1988.

One can still view that petroglyph (a little worse for wear)which fascinated and inspired Morrisseau in Northern Ontario �?? all you need is a canoe and an educated guide... This rock is located on the drainage of the Bloodvein River, between his grandparents' home and Lake Winnipeg:

Robert Lavack Remembers

noreply@blogger.com (Raven) — Sun, 18 May 2008 04:04:00 +0000

No, No Morrisseau

By Robert Lavack

During the early 1960s to early 1970s, I was in frequent personal and mail contact and occasional telephone contact with Norval and members of his family, a reluctant Father Confessor of sorts. The mail exchange generated a cache of over 300 letters from Norval, his immediate family, agencies, politicians and individuals who impacted on his art career. Some relate to the art circuits in which Norval and Carl Ray were employed. I am currently shaping these contacts into a story for publication. Some of my musings are below. An episode from the larger story will appear in the April 2008 edition of Beaver magazine .

I think the most formative years of Norval�??s artistic life were those from the early 1960s to the early 1970s when he lived North Western Ontario and began to be recognized as a primitive artist. This was a period of frustration when he was trying very hard to reproduce the legends of his people in a new art form, and being frustrated when he failed to achieve an artist�??s satisfaction. When that happened, he would sell some of his paintings and seek an escape through alcohol. It was a cycle that continued for many years and that saw him as an itinerant in various 'skid rows�?? throughout Canada. Often hospitalized and often written off by the media, he came back to paint again.

The Morrisseau story I would like to see written would be about the happy periods in his life�??an emergence from an early mold as he discarded feelings of inferiority and sensed the pull of success. Despite his 'one step forward and two steps back�?? lapses, he succeeded in achieving international recognition.

This story of emergence is the only way I can depict Norval as he was during the period I knew and worked with him. It is important that the First Citizens of Canada recognize that Norval overcame great adversity to become a pre-eminent artist. He set the goal for this during his early years and strengthened his drive for success when working on the art circuit and other projects.

Whenever I had to bail him out of jail for alcoholic misdemeanours and showed some annoyance, he would try to humour me by saying something along the lines of, "My Thunder Bird�?? warned me about your being Satan�??s acolyte planning to capture my soul". He would go on to claim in Hollywood terms, "You are exposing me to the temptation of 'fire water�?? to weaken my resolve like the 'white eyes' have done to my people for many moons". As he continued with this humorous monologue, I would circle my forehead with a finger to indicate he was deranged. When he saw that I was no longer annoyed, he would usually end by saying, "I�??m not worried because I�??m the Shaman, Copper Thunder Bird, an acolyte of Thunder Bird. Jointly we will defeat you and your master Satan. Now let�??s go and get a drink".

Although Norval�??s reference to Satan was said in jest, I felt that Norval was superstitious enough to believe in such fantasies. Since he invoked the Satan and the Thunder Bird charade, I went along with it hoping I might be able to exert greater influence on him through this. Melding into the role of Satan�??s acolyte, while Norval cast himself in the role of his Thunder Bird�??s acolyte was amusing. It provides another story outline that would make the trials and tribulations of Norval�??s life, and those of the people he encountered an interesting and hilarious reading experience.

Image and Text © Robert Lavack 2007. Used with Permission.

Gabe and Norval: Positive Energy (2)

noreply@blogger.com (Raven) — Sat, 17 May 2008 04:49:00 +0000

We are all Norval�??s children (By Angie Littlefield)

When I first met Norval in Sandy Lake in 1970 he was 39 years of age. Harriet was tending to a summer cooking fire outside their two room home where there was a stack of paintings piled up about 24 cm high on a table in the corner. Norval hoisted up one of his toddlers and another child stood shyly between his legs. Norval was in great spirits as he chatted with his old friend, our pilot, Robbie Lavack who had brought him more paint supplies. Norval eagerly displayed his prodigious summer output which was on the brown kraft paper that Robbie had brought in a large roll from the Dryden paper mill. I was a student and had never heard of Norval Morrisseau but I could feel the greatness emanating from those sheets of paper. I stepped aside as Robbie and Norval talked business. Norval wanted to sell more works to help with his growing family and he wanted Robbie to help him. After about a half hour visit, we were gone.

I flew in and out with only a fleeting impression of Norval and Harriet�??s life in the Sandy Lake community. Over the years I heard a lot more about the decade plus that Robbie and Norval spent interacting�??one highlight of which was the art circuit which Robbie created for Norval and Carl Ray. Norval and his lovingly called "white eyes" pal were obviously very close.

In 2004 I acted as the conduit to bring Robbie and Norval together again. Robbie flew in from Sweden for a touching meeting with Norval in his hotel room. We were with Norval for three pleasant hours together with Gabe and Michele Vadas. It was clear to me that as delighted as Norval had been with his children in 1970, he was now with Gabe and Michele. I sensed they were his 'home�??.

I went to the afternoon visitations for Norval Morrisseau on Dec. 6 and 7, 2007 where there was a lot of tension�??something I found disturbing and ironic at the same time. It was disturbing because values in conflict are never easily resolved. It was ironic because through his art and his life, Norval has made us all his children.

I feel certain after having seen Norval look at his children in Sandy Lake in 1970 and in Toronto in 2004 with eyes of love that Norval�??s spirit, hovering somewhere above St. Clair Avenue West and later Spadina, embraced us all.

Image and text © Copyright Angie Littlefield 2007. All Rights Reserved.
Used with permission.

Norval and Gabe: Positive Energy

noreply@blogger.com (Raven) — Thu, 15 May 2008 21:42:00 +0000

Gabe Vadas and Norval Morrisseau 1999
© Alex Waterhouse-Wayward 2008. Used with permission

Much has been said of Gabe Vadas and his part in the controversial life of Norval Morrisseau. While gossip and rumours abound, those who knew Norval saw the affection between the two as genuine and special. Those who met them seemed to concur. One such person was Alex Waterhouse-Wayward. Alex, a professional photographer, had the opportunity to photograph Norval and Gabe during a Globe and Mail interview of the two in 1999 by Christopher Dafoe.

Alex provided me with commentary during my research and observed:

"I would only stress that while many in the media saw in the relationship between Norval and Gabe something suspect it was the gentle interview that the then Globe & Mail reporter, Christopher Dafoe did, who always thought best of people, that convinced me of its genuineness."

It's interesting to note that Norval stood by the comments made by Gabe and reinforced Gabe's position as his adopted son.

Note: Norval must have painted that day prior to the photograph. Notice the familiar blue paint on his left wrist?

Alex has written about this interview. The following is reproduced with his permission:

Norval Morrisseau The Grand Shaman & His Hungarian Son
Wednesday, December 05, 2007

Norval Morrisseau, 1935-2007

Sometime near the end of May 1999, Chris Dafoe, the Western Arts Correspondent in Vancouver for the Globe & Mail called me up most enthusiastically that I had to photograph a native (Ojibwa) artist, Norval Morrisseau with a strange ex-street person of Hungarian extraction Gabor (Gabe) Vadas. Vadas was Morrisseau's "adopted" son ("His kinship with the old man is not recognized by family or law," Dafoe wrote) after they met in the streets of Vancouver or as Dafoe wrote (he had interviewed both Morrisseau and Vadas at Joe Fortes on Thurlow and Robson):

A dozen years ago, those same people [diners at Joe Fortes] might have stepped over both the old Indian and the young Hungarian on their way to this restaurant. In the late 1980s, both Norval Morrisseau and Gabor Vadas were living on the streets of Vancouver. Morrisseau's presence on those streets - the news that he was selling sketches for the price of bottles of booze, sleeping in parks, prone to unintelligible rants, telling people that "to get drunk in Vancouver is the most beautiful thing there is" made national headlines in 1987. He was, after all, one of the most important artists this country had ever produced, a member of the Order of Canada, a man whose work was collected by major galleries across Canada and around the world.

Dafoe finished his fine interview:

As lunch wound down and the coffee grew cold, Vadas continued to talk about life with Norval. When he was asked how their relationship has changed over the years, it became clear that he sees himself s more than just a caretaker or an agent, even more than a son. "Our relationship started out as student and teacher, because Norval is a grand shaman," he said. "I think it has evolved into a relationship of two teachers. Norval has figured out how to get the power and how to hand it down to me. He's taken me as an apprentice. If Norval died tomorrow, he wouldn't be leaving this world, because he would continue to see it through me."

The old Indian looked on silently, through heavy lidded eyes, as his Hungarian son talked excitedly about mystical tales of legend and the power they possess. It is a world the old man knows well, a world that has been much kinder to him than this one.

Heart Of Gold

noreply@blogger.com (Raven) — Thu, 15 May 2008 01:59:00 +0000

Norval, much like Neil Young, was always searching for his Heart Of Gold. Ironically enough, Young's comments regarding the song's impact on his life provide an interesting backdrop when considering Norval's life. On the album "Decade's," Neil's handwritten liner notes about the hit song are hauntingly familiar:

"This song put me in the middle of the road. Traveling there soon became a bore so I headed for the ditch. A rougher ride but I met more interesting people there."

For your consideration and enjoyment, Norval's favourite recording: Neil Young's Heart Of Gold...

Guardian Bear

noreply@blogger.com (Raven) — Wed, 14 May 2008 02:30:00 +0000

Guardian Bear, Norval Morrisseau, 1992
© Bryant Ross 2008. Used with permission

The owner of Coghlan Art Studio and Gallery, Bryant Ross, has often acted as a promoter of Norval Morrisseau�??s work but many are unaware that he also shared a personal friendship with the artist and his spiritual son, Gabe Vadas.

From 1987 to 1990, after Gabe and Norval stopped living off the streets of Vancouver, they lived together on the property adjacent to the Coghlan Art Studio. Even after moving to his own residence with Gabe in White Rock, B.C., Norval often returned to the Coghlan Art Studio to paint and visit with his friend Bryant.

During one particular 1992 work session, Bryant showed Norval two unusually large bear skulls from his personal collection. Norval was quite interested and enthusiastic discussions ensued. Because of Norval�??s interest, Bryant gifted Norval with one skull and asked the artist if he had any ideas what should be done with the other. Norval explained to Bryant that the bear should be made a guardian for the gallery.

In order to accomplish this, Norval explained that one must first tame the bear to avoid being bitten. He proceeded to wire the bear�??s jaw shut with some brass wire he found nearby. He then began painting the bear in conjunction with a painting he was working on. Bryant recently described the process:

�??When he had finished using a color on the painting he would apply it to the skull. By the end of the day he had finished both the painting and the skull. He told me that I should add to the skull myself. I added the single Bear claw that hangs from one side. From that day this skull has hung above the stairway that leads to our gallery area. It is a powerful thing that reminds me of the time Norval spent painting in the studio.�??

The whereabouts of the skull gifted to Norval remains unknown. The twin Guardian Bear remains in hibernation.

Raven Thunderbird

Buying Morrisseau Art (Part 1)

noreply@blogger.com (Raven) — Tue, 13 May 2008 16:06:00 +0000

Morrisseau and his Estate have issued numerous statements regarding unauthentic paintings being sold in the secondary market. Morrisseau was so insulted by this that he took the unusual step of personally creating the Norval Morrisseau Heritage Society which will issue a Catalogue Raisonné . But how could Norval possibly know which paintings were authentic or not?

It is often argued by owners of questionable paintings that Norval didn�??t remember every painting he created. It seems a reasonable statement to many outside the creative process but when one considers that the artist put years of study into his craft and that an artist, who has tapped into something special and intrinsic to his being, has a unique voice �?? it becomes easier to understand that it�??s not a strong statement at all.

Norval wasn�??t just any artist. A recurring theme of �??genius�?? is put forth by those who met him and experienced his artistic creativity first hand. Norval tapped into a very specific artistic �??language�?? consisting of very real spiritual symbols and colour theory. And while Woodland art flourishes today, it�??s important to remember that it didn�??t exist until Norval Morrisseau introduced it to us.

A good comparison would be to pull out the top ten audio recordings of the year Jimi Hendrix released his first album. Hendrix�?? musical language has spread throughout the world so it may be hard to appreciate the nuances of his sonic genius until you put it into the context of what existed prior to him.

Any guitarist can tell you that with sufficient exposure, they can tell if their favourite guitarist is playing on a recording simply by listening to it. The unique tone of his instrument, the voicings of his musical lines and a certain toolkit of signature chords. All together, these provide instant messages which indentify the artist.

While it may be convenient to argue Norval couldn�??t remember all his paintings when he points out yours as an unauthentic copy of his style, many who knew him personally report a keen wit and sharp mind, even near the end. Robert Lavack, one of Morrisseau�??s first �??promoters�??, has recently stated this publicly.

In 1995, when asked by a curator of a museum about a very particular piece of birch bark art Morrisseau had created decades earlier, Norval explained the piece with intimate detail and great insight. After responding to Norval that he was impressed with this ability to recall details, Norval told the curator:

�??A lot of people ask me if I remember doing a particular painting, and I tell them - of course I remember doing the painting, and I remember exactly what I was thinking about the time I was doing it.�??

The Indian Group of Seven

noreply@blogger.com (Raven) — Mon, 12 May 2008 21:24:00 +0000

The subject of many art discussions, there never formally was an �??Indian Group of Seven.�?? That term was coined by Winnipeg Free Press reporter Gary Sherbain in 1973 when reporting on the activities of the Professional National Indian Artist Association (PNIA).

The PNIA�??s membership consisted of seven Indian artists:

Daphne Odjig
Carl Ray
Norval Morrisseau
Joe Sanchez
Jackson Beardy
Eddy Cobiness
Alex Janvier

Daphne has often explained that the PNIA was created in order to assist in the development of young, promising Indian artists and to formalize Indian art as part of the Canadian art scene. The lifespan of the PNIA was only a few years but its impact is still felt today. In many ways, the PNIA changed Canadian attitudes towards Indian art which permitted the flourishing Indian art scene which now surrounds us.

Although many today believe that this Group was formed to counter or parallel the �??Canadian�?? Group of Seven, Daphne Odjig has publicly denied this and indicated it was accidental. It was simply a matter of seven artists collaborating together for a common purpose.

As a member of this illustrious group, Norval Morrisseau bridged all lingering gaps within the art community and was the first Indian artist to have a solo exhibition in the National Gallery of Canada. Morrisseau accomplished this by sheer force of talent and artistic genius.

All Indian artists today owe a debt of gratitude to this group of artists who cleared paths for others to follow.

Simcoe area educators: The Norval Morrisseau Lending Programme

noreply@blogger.com (Raven) — Mon, 12 May 2008 03:25:00 +0000

Norval Morrisseau Lending Programme

Sponsored by the MacLaren Art Centre

In 1996 the MacLaren Art Centre began the Norval Morrisseau Lending Programme which gives schools in Simcoe County the opportunity to borrow up to ten original serigraphs from the permanent collection of the MacLaren Art Centre. Simcoe County schools can use these prints to create an in-school educational exhibition of one of Canada's most significant First Nations artists.

These prints, which are provided framed and ready to hang, were completed by the artist while he was living in Germany during the 1980's. The programme also provides educators with a comprehensive education package to accompany the artworks.

The Norval Morrisseau Education Package includes a biography of the artist; information about various influences and sources of inspirations; historical background to the work; assistance with art appreciation; vocabulary lists, studio and cross-curricular activities; First Nations myths and legends; environmental studies and social studies components.

The Norval Morrisseau Lending Programme is an important educational resource available only to schools within Simcoe County for a fee of $100.00 for a one-month period. This fee includes a complimentary copy of the Norval Morrisseau Education Package as well as insurance for the works. The fee does not include transportation to and from the MacLaren Art Centre as this is the responsibility of the borrower.

For more information or to participate in the Norval Morrisseau Lending Programme please contact the Registrar at the MacLaren Art Centre at (705) 721-9696.

Additional information: http://www.maclarenart.com/learn/norval_mouisseau.cfm

First Contact

noreply@blogger.com (Raven) — Sun, 11 May 2008 16:10:00 +0000

It is a little known fact that Norval Morrisseau owes much of his storied career to an introduction made by one of his first collectors, Ontario Provincial Police constable Robert Sheppard.

Constable Sheppard wrote to his friend, Selwyn Dewdney, in seeking his assistance in order to aid the young Indian artist. At that time, Constable Sheppard was working at the Mackenzie Island detachment of the OPP and was impressed with Norval�??s art and knowledge of Indian lore. Mr. Dewdney had contacts within the artistic community and was a scholar researching Indian rock art sites.

Constable Sheppard wrote:

�??Enclosed are some crayon drawings of a young Indian I have met from around Beardmore way. His crayon drawings are good and his water colours are even better. I have some of his water colors (sic) inside birch baskets and they are really beautiful. His name is Norval Morrisseau, and he has had grade school and has done plenty of reading since leaving school, and he himself studies and collects Indian lore as well as being by way of an artist. He has plenty of access to his material being an Indian himself.

He is looking for work, married, and no children, and it seems a shame he doesn�??t get a chance to sell his work or find many interested people. It is not the sort of thing to sell to tourists as it would go unnoticed except for the novelty. Too bad the Museum couldn�??t use a series of Indian paintings, or could they? What do you think this boy�??s chances are?? He can draw and paint, grew up with the people and knows the stories by heart. It seems a shame that his talents can�??t be made useful and available.�??

Letter from Constable Sheppard to Selwyn Dewdney, Ontario, 1960

Welcome!

noreply@blogger.com (Raven) — Sun, 11 May 2008 00:11:00 +0000

This blog shall provide interested parties an independent source of information regarding the late Norval Morrisseau.

You are welcome to share your stories, anecdotes and any information relating to his art and life.
This Blog has no affiliation with galleries and no affiliation with any members of the Morrisseau family including Norval's spiritual son, Gabe Vadas.

It is my hope to provide a central source for information and discussion to all fair minded and respectful persons.

Be welcome.

Raven