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 withEmily Carr and with her brooding works portraying the remnants ofIndian villages against the overwhelming wilderness. He made sketchesof Indian artefacts and the Cowichan Reserve in the 1930s, but it wasonly after World War II that elements of Indian art began to show up inhis style. Marjorie Halpin finds in the changes in the way Indian formsoccur in Shadbolt's paintings an appropriate expression of thechanging attitudes of British Columbians to Native society and thepolitical will the Native people now manifest. The place of Indianmotifs in Shadbolt's painting can be broadly correlated with thecultural quickening of Indian society in recent years. They reveal hisemotional sympathy with Kwagiutl, Haida, and Tlingit forms and his deepresponse to the Indians' spiritual and historic presence in theBritish 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 ofanthropology 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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