Jack Shadbolt and the Coastal Indian Image
64 pages, 6 x 9
64 photos, 24 in colour
Release Date:01 Jan 1986

Jack Shadbolt and the Coastal Indian Image

UBC Press
Jack Shadbolt was inspired in his formative years by his contact with Emily Carr and with her brooding works portraying the remnants of Indian villages against the overwhelming wilderness. He made sketches of Indian artefacts and the Cowichan Reserve in the 1930s, but it was only after World War II that elements of Indian art began to show up in his style. Marjorie Halpin finds in the changes in the way Indian forms occur in Shadbolt's paintings an appropriate expression of the changing attitudes of British Columbians to Native society and the political will the Native people now manifest. The place of Indian motifs in Shadbolt's painting can be broadly correlated with the cultural quickening of Indian society in recent years. They reveal his emotional sympathy with Kwagiutl, Haida, and Tlingit forms and his deep response to the Indians' spiritual and historic presence in the British Columbia environment.
RELATED TOPICS: Art, Canadian Art, Indigenous Art
Rich with well-chosen reproductions of Indian artefacts, old photographs, and especially Shadbolt's drawings and paintings. University of Toronto Quarterly
Marjorie M. Halpin is an associate professor of anthropology at the University of British Columbia.



In Search of Freedom

From Primitivism to Place

Jack Shadbolt's journal, 24 February 1985

"Act of Art"

Cultural Transformations

Jack Shadbolt's journal, 9 July 1985

Lenders to the Exhibition

List of Paintings and Artifacts



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