An Introduction to the art of Darrell Morrisey

 

Darrell Morrisey

I wrote an essay on the paintings of Darrell Morrisey and then requested that ChatGPT edit what I had written, for concision, and this is what it produced. I made the same request of MetaAI (owned by Facebook) and got nothing, they had never heard of Darrell (couldn't they have at least done a search on her?), MetaAI was actually insulting and Deep Seek was totally useless; here is what ChatGPT wrote:

Darrell Morrisey (1897–1930) was a Canadian artist whose contributions to early 20th-century art, particularly within Montreal's Beaver Hall Group, have only recently received scholarly attention. Darrell Morrisey was a member of Montreal's Beaver Hall Group, a collective of Canadian artists active in the early 20th century. The group is notable for its inclusion of both male and female artists and its embrace of modernist styles. Despite her premature death and the subsequent disappearance of her works, Morrisey's paintings and her biography offer an interesting addition to the history of the Beaver Hall artists. 

Morrisey received her artistic education at the Art Association of Montreal (AAM) between 1917 and 1920, studying under prominent artists such as Maurice Cullen and William Brymner. Her participation in the AAM's Spring Exhibitions and the Royal Canadian Academy of Arts' annual exhibitions during the 1920s reflects her active engagement with the Canadian art scene. In 1921, she exhibited a portrait at the inaugural exhibition of the Beaver Hall Group, a collective of artists dedicated to exploring modernist themes and techniques. She studied at the Art Association of Montreal (AAM) from 1917 to 1920, participating in several of its Spring Exhibitions during that period and later years. In June 1917, she took open-air drawing classes from Maurice Cullen in Phillipsburg, Quebec, and the following year from William Brymner in Calumet (now Pointe-Calumet), Quebec.

The Beaver Hall Group, established in 1920, was instrumental in advancing modern art in Canada. Unlike the contemporaneous Group of Seven, which focused predominantly on landscapes, the Beaver Hall artists embraced a diverse range of subjects, including portraiture and urban scenes, and were notable for their inclusion of women artists. Morrisey's involvement with this group positioned her among peers who were at the forefront of artistic innovation in Montreal.

Morrisey's limited body of work is characterized by a focus on rural landscapes and one portrait. Her travels to Europe between 1921 and 1922, including visits to the United Kingdom, Italy, and France, likely enriched her artistic perspective, as suggested by the European themes present in some of her later works.

The discovery of Morrisey's paintings has been a gradual process. In May 2024, a painting titled "Sunset Landscape," dated 1917, was identified in the United Kingdom and subsequently returned to Canada. This work, along with others that have surfaced, such as a depiction of L'église Notre-Dame-de-Grâce in Montreal, underscores her artistic range and the geographical breadth of her subjects.

Despite these discoveries, much of Morrisey's life and work remains shrouded in mystery. Her early death at the age of 33 and the subsequent disappearance of many of her paintings have contributed to her status as a "forgotten" artist within the Beaver Hall Group. Recent scholarly efforts, including essays and exhibitions, have begun to shed light on her contributions, emphasizing the need for further research to fully appreciate her role in Canadian art history.

In examining Darrell Morrisey's paintings, one not only gains insight into her personal artistic journey but also into the broader narrative of Canadian modernism. Her work reflects the dynamic interplay between tradition and innovation that defined the art scene in early 20th-century Montreal. As more of her paintings come to light, there is an opportunity to reassess her impact and ensure that her legacy is appropriately recognized within the canon of Canadian art.

Morrisey's artistic contributions are less documented compared to some of her contemporaries. However, a recently discovered painting titled "Sunset Landscape" (1917) showcases her talent and provides insight into her style.

While specific comparisons between Morrisey's work and that of other Beaver Hall artists are limited due to the scarcity of her known pieces, her association with the group suggests she shared their modernist approach and thematic interests.

For a more comprehensive understanding of Morrisey's art in relation to her peers, further research and discovery of her works would be necessary.

Morrisey's artistic focus included portraits and rural landscapes, with her later works reflecting her travels in Europe. She exhibited at the first annual exhibition of the Beaver Hall Group in January 1921, presenting a portrait. Throughout the 1920s, her work was admired by critics in Montreal. She traveled to Europe from August 1921 to July 1922, visiting the United Kingdom, Italy, and France, and occasionally visited the United States.

Due to her early death and the subsequent disappearance of many of her paintings, Morrisey became one of the "forgotten" members of the Beaver Hall Group. However, recent discoveries have brought some of her works back into the public eye. In May 2014 the first of her paintings was discovered in her hometown, Westmount, Quebec, entitled "Landscape (possibly Pointe Calumet, Quebec". Ten years later, in May 2024, a painting titled "Sunset Landscape" was discovered in the United Kingdom.  Additionally, in September 2024, two more paintings were found, including one depicting L'église Notre-Dame-de-Grâce in Montreal (located on the corner of Decarie and Avenue Notre-Dame-de-Grâce), believed to have been painted between 1927 and 1930.

These recent discoveries have renewed interest in Morrisey's contributions to Canadian art, shedding light on her role within the Beaver Hall Group and the broader art community of her time.

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The view from the Montreal Museum of Fine Arts

The Montreal Museum of Fine Arts, 21 April 2024.

                                      

                                        

                                                

                               

                                     

Henry Moore and Georgia O'Keefe Exhibition in Montreal

Entrance to the Moore/O'Keefe exhibition

                

The Montreal Museum of Fine Art is one of the reasons Montreal is a great city. it's also one of the things I love about this city. The Museum was founded in 1860; it was originally located on Philip's Square and was a part of the Art Association of Montreal. The current exhibition is Georgia O’Keeffe and Henry Moore, Giants of Modern Art; here are some photographs taken on 21 April when we visited the Museum to see this excellent exhibition.                 

Shaman art at the MMFA (4)

Shaman art at the MMFA (3)

Shaman art at the Montreal Museum of Fine Arts (2)

Norval Morrisseau at the new wing of the MMFA

Norval Morrisseau is an artist who interests me; he is a visionary and shamanistic artist. 

Other photos: here we are at the new wing of the MMFA:

 

Shaman art at the Montreal Museum of Fine Arts

Jean Paul Gaultier exhibit at the Montreal Museum of Fine Arts, August 2011 (2)

Jean Paul Gaultier exhibit at the Montreal Museum of Fine Arts, August 2011 (1)

For some of us, the Jean Paul Gaultier exhibition currently at the Montreal Museum of Fine Arts is of only peripheral interest. Gaultier doesn’t need my review of his work, he’s wealthy and well known, but I also wonder if this work belongs in a museum? Probably not. However, it is a lot cheaper for a museum to present haute couture from France than traditional “art.” I am not too sure why this exhibition was presented in the summer months as it might have little appeal to tourists who would correctly think they would be seeing "art" in a museum, not a fashion show from France. And, at first, it has the aura of the worst of French society and the fashion industry, exclusivity, insularity, smugness, self-righteousness, and self-satisfaction.


It was not before I had seen half of the show that the clue into this exhibition of Gaultier’s work dawned on me. There were the creepy talking mannequins, the pointy bras popularized by Madonna, and the kind of costumes you see in fashion magazines that are not for actual wearing but are the folly and pretense of fashion designers like Gaultier. Gaultier is well known and lives in an exclusive world, one to which most of us don't have access.

But there is a clue to Gaultier's exhibition. It is that Gaultier has done what all great artists try to do, he has perceived the zeitgeist, he knows what will be popular before the public knows what they are want, and he explores the collective psyche of French society. In this exhibition, Gaultier has opened the collective unconscious and manifested it in his designs. This is not to say that Gaultier is a “great artist,” but only to state that he has done something remarkable, something that is of interest. These items of clothing express the collective unconscious of the French nation, each is an expression of some archetypal aspect of the French psyche.

Gaultier’s exhibition is all about the psychic content of French consciousness and it is an expression of archetypes. The exhibition disturbs some of us because psychic content can be disturbing. And what is it that Gaultier pulls up into consciousness? It is about glamour, extroversion, colour, pretence, and appearance without depth. But it is also about fun, costume, and wearing our psychological complexes in public.
Gaultier’s show is a carnival of appearance, it shows a life of great variety and imagination, it is a celebration of life, and a celebration of superficial folly signifying very little to the average viewer. It is not my world but I can appreciate what Gaultier is doing because if you compare Gaultier’s vision to a possible exhibition of what comprises the American psyche--the growing spiritual emptiness of American society, the lack of culture in much of America, America as the military police of multi-national corporations, and of all the other stereotypes that have at least an essence of truth to them--then Gaultier's vision has a significance that may have been missed. His vision is, at the least, the expression of psychic content--the collective unconscious, archetypes, dreams--and it is both fascinating and an affirmation of life.