Landscapes of Sport, Landscapes of Exclusion: The "Sportsman's Paradise" in Late-Nineteenth-Century Canadian Painting.

This essay deals with a group of late-nineteenth-century landscape paintings that were painted for members of the sportsmen's club movement, who leased salmon rivers in Atlantic Canada for sport fishing. In Canada, as elsewhere, the removal of Native rights to the animal world, through the introduct...

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Publicado en:Journal of Canadian Studies Vol. 40; no. 1; pp. 71 - 124
Autor principal: Jessup, Lynda
Formato: Essay
Publicado: University of Toronto Press Winter2006
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Acceso en línea:Ver este registro en EBSCOhost
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        atl: Landscapes of Sport, Landscapes of Exclusion: The "Sportsman's Paradise" in Late-Nineteenth-Century Canadian Painting.
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        au: Jessup, Lynda
        affil: Queen's University, Kingston
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        Essays
        Landscape painting
        Modern history
        Nineteenth century
        Fishers
        United States
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          Essays
          Landscape painting
          Modern history
          Nineteenth century
          Fishers
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        This essay deals with a group of late-nineteenth-century landscape paintings that were painted for members of the sportsmen's club movement, who leased salmon rivers in Atlantic Canada for sport fishing. In Canada, as elsewhere, the removal of Native rights to the animal world, through the introduction of policies and laws restricting hunting and fishing technologies and access, went hand in hand with the aesthetic appropriation of the environment as landscape. For this reason it can be argued that in picturing Atlantic Canada as the recreational landscape of these elite tourists—"a sportsman's paradise"—paintings of the region are also products of the history of Native exclusion from the Atlantic salmon fishery. Thus they provide a point of access to the complex history of Native-settler interaction for public art galleries in Canada currently involved in the incorporation of Native North American material into the existing public narrative of Canadian art.
        Le present article porte sur un groupe de peintures paysagistes du dernier quart du XIX siècle qui ont été réalisées par des membres du mouvement des clubs de sportifs qui louaient des rivières à saumon dans le Canada atlantique pour faire de la pêche récréative. Au Canada, comme ailleurs, Ia suppression résultante des droits autochtones au monde animal—par l'introduction de politiques et lois restreignant les technologies et l'accès à la chasse et à Ia pêche—est allée de pair avec l'affectation esthétique de l'environnement comme paysage. Pour cette raison, on peut avancer qu'en montrant le Canada atlantique comme le paysage récréatif de ces touristes d'élite (un paradis des sportifs), les peintures de cette region sont également un produit de l'histoire de l'exclusion autochtone des pêches au saumon atlantique. Ces peintures fournissent donc un point d'accès à l'histoire complexe des interactions entre les Autochtones et les colons pour les galeries d'art publiques au Canada qui essaient présentement d'incorporer du matériel autochtone nord-américain dans le récit public actuel de l'art canadien.
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