This is the fourteenth post in a two week series in partnership with Canada Watch on the Confederation Debates
By Ged Martin
The founding, in 1880, of the Royal Canadian Academy of the Arts no doubt represented a landmark in recognition and encouragement of the visual arts in the Dominion. Unfortunately, it was not easy to advance its cultural agenda, especially the central aim of creating a National Gallery. A cramped room on Ottawa’s Bank Street was designated as the Gallery’s first home in May 1882, and it may be that the idea of acquiring a large picture of national import was attractive as a means of forcing the issue of a permanent location. In April 1883, the Academy’s president, Lucius R. O’Brien, submitted a wordy memorandum to the government calling for artistic commemoration of “the meeting of the Conference at which the foundation was laid for the Confederation of the Provinces constituting the Dominion of Canada.” O’Brien did not specify which conference he had in mind, and the project began as a tribute to the meeting in Charlottetown. However, wherever it happened, O’Brien argued that it was “an event of such importance in the annals of the country” that a monumental canvas was required to keep alive the memory of the participants. O’Brien added two further points. One was a hurry-up reminder that the delegates were already dying off. The other was that Robert Harris, “a Canadian artist of ability,” had recently returned from Europe and was “fully competent to paint such a picture.”[1]
Sir John A. Macdonald’s Cabinet was apparently uncertain about how to respond to O’Brien’s plea. Continue reading