Vendu pour : $205,250

PROVENANCE
Collection privée, Ontario
Par filiation à l’actuelle Collection privée, Ontario

BIBLIOGRAPHIE
Ernst Roch, Arts of the Eskimo: Prints, 1974, reproduit page 39
Odette Leroux et al., Inuit Women Artists, 1994, reproduit page 22
Jean Blodgett, Kenojuak, 1985, reproduit sur la couverture no de catalogue 11
Ingo Hessel, Inuit Art: An Introduction, 1998, reproduit page 40
Anne Newlands, Canadian Art: From Its Beginnings to 2000, 2000, reproduit sur la quatrième de couverture et page 20
Sharon Anne Cook et al., Framing Our Past: Canadian Women’s History in the Twentieth Century, 2001, reproduit page 68
Deborah Evenett, Encyclopedia of Native American Artists, 2008, reproduit page 3
Gerald McMaster, Inuit Modern, 2011, reproduit à la page 37
Norman Vorano, Inuit Prints: Japanese Inspiration: Early Printmaking in the Canadian Arctic, 2011, reproduit sur la quatrième de couverture et le no catalogue 27
Anna Hudson et al., Tunirrusiangit: Kenojuak Ashevak et Tim Pitseiulak, 2018, reproduit page 33

The Enchanted Owl is one of Kenojuak Ashevak's most well-known works, and arguably one of the most well-recognized images in Canadian art. The print was released in 1960 and quickly became not only an icon of Inuit art, but a symbol of Canada. This work has been widely illustrated, and in 1970 was reproduced on a six cent stamp to commemorate the 100th anniversary of the Northwest Territories.

Ashevak grew up in the Canadian Arctic, following traditional Inuit values, and traveled between Baffin Island and Northern Quebec. She was a skillful seamstress from an early age, using caribou and sealskin hides to create beautiful patterns, something she learned from her maternal grandmother, with whom she lived as a young girl. By the time James Houston arrived and encouraged her to draw in 1958, she already showed an intuitive understanding of composition and form. Applying these traditional skills to the medium of stonecut, with The Enchanted Owl she proved she was an adept and original artist from the very start.

Her artwork showed a deep understanding and appreciation for the wildlife around her, often representing animals and birds – and most loved are her depictions of owls. Their shape deviates from reality to follow her imagination, with artistic form taking precedence over practicality. Her style is self-described as her hand leading her mind. Left-handed, she would often start her drawings at the left side of the paper and slowly build her composition. So assured was she in her vision it is said her hand would rarely leave the paper.

The Enchanted Owl has an otherworldly and mysterious feel. Perhaps it derives from the high contrast of red and dark blue, evoking themes of light and dark, good and evil, or the dramatic outburst of plumage radiating around the static body of the owl - which exudes energy. Although Kenojuak never stated that her works were spiritual - still, there is something all-knowing about this owl, with its inquisitive eyes and intelligent gaze directed at the viewer. Enchanting indeed!

The first appearance of the Enchanted Owl can be seen in her print Bird Humans (also from 1960). This image was created before her drawing The Enchanted Owl, and it is fascinating to see the idea of the work in its earliest form. The owl in this drawing has no plumage, but the curious face of the owl is instantly recognizable - a seed of an idea that would become the iconic work that for many, was the introduction to the art form of printmaking.

This work is a rare and classical image, one that shaped the burgeoning Inuit art aesthetic. Throughout Kenojuak's decades-long prolific career, the style and themes first developed in The Enchanted Owl were Kenojuak’s signature, echoed by countless other artists who looked to her as the matriarch of contemporary Inuit art. When asked which her favourite print was, Kenojuak always answered "My Enchanted Owl," and it was the only print she proudly hung in her home. We can see why, after all these years, The Enchanted Owl continues to captivate us all.

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