Alex Janvier: A Visionary Canadian Painter

Alex Janvier, known for his remarkable fusion of abstraction and First Nations traditions that defined his unique style, passed away on July 10 at the age of 89. To commemorate his legacy, a moment of silence was observed during the Assembly of First Nations annual general meeting, honoring Janvier's contributions to promoting Native artists and inspiring future generations. Canadian Prime Minister Justin Trudeau expressed his condolences on X, stating, “His art reflected so much of Canada’s history, including some of the hardest parts of our story.”

Early Life and Education

Born on February 28, 1935, on the Cold Lake Indian Reserve (now Cold Lake First Nations), close to Alberta's Saskatchewan border, Janvier's origins are deeply rooted in Denesuline and Saulteaux heritage. During his childhood, the restrictive pass system still governed Indigenous peoples' movement off reservations. His father, Harry Janvier, served as the community’s last hereditary chief before the implementation of elected officials under federal law. With nine siblings, Janvier’s early years were challenging. At the age of eight, Janvier was sent to Blue Quills Residential School, about 100km from Cold Lake.

Reflecting on his time there, Janvier once remarked, “That kind of story does a lot of unusual things to our life. It tears [apart] your language, culture and beliefs. They probably removed a lot of it.” Despite these hardships, Janvier's artistic talent was recognized and encouraged, leading him to art classes at the University of Alberta in his teens and subsequently at the Provincial Institute of Technology and Art in Calgary (now Alberta University of the Arts), where he studied under artists like Illingworth Kerr and Marion Nicoll.

Career and Contributions

Janvier embarked on his professional journey as a full-time painter and illustrator in 1962. He married Jacqueline Wolowski in 1968, and together they had six children. A pivotal moment in his career came in 1973 when he co-founded the Professional Native Indian Artists Inc. alongside Norval Morrisseau, Daphne Odjig, and Jackson Beardy. This collective effort broke barriers, allowing Native artists access to mainstream galleries previously restricted to ethnographic museums.

Janvier’s abstract works drew inspiration from traditional Denesuline beadwork, hide painting, and quill work, as well as from notable artists like Paul Klee and Wassily Kandinsky. His work often carried profound political messages.


Photo: Joanne Clifford via Wikimedia Commons

Major Works and Legacy

In his 1988 painting Lubicon, Janvier used fiery reds to convey his indignation over the treatment of his people, mirroring his residential school experiences in other series. O’Kanada (1990), displayed at the Royal Alberta Museum, was inspired by the Oka Crisis, a standoff between the Mohawk community and police. His iconic Morning Star (1993), painted on the dome of the Canadian Museum of History, depicted Native history and the hope for reconciliation.

Janvier also designed a C$200 coin in 1998 for the Royal Canadian Mint, reflecting the legend of the white buffalo. His monumental mosaic Iron Foot Place (2015) continues to welcome visitors at Edmonton’s Rogers Place arena.

In 2003, Janvier launched the Janvier Gallery in Cold Lake, offering visitors a chance to meet him and see his work in process. He once expressed, “When I die, I want to have a paintbrush in my hand.”

Recognition and Awards

Throughout his life, Janvier received numerous accolades, including the Order of Canada, the Governor General’s Award for Visual and Media Arts, the National Aboriginal Achievement Foundation’s Lifetime Achievement Award, the Queen Elizabeth II Diamond Jubilee Medal, and membership in the Royal Canadian Academy of the Arts. Reflecting on his art in 2012, he said, “Painting says it all for me. It is the Redmantalk in colour, in North America's language. Our Creator's voice in colour.”

Tributes

Wanda Nanibush, an Anishinaabe curator, celebrated Janvier as "a true visionary who helped break down the barriers that confined Indigenous art to anthropology,” highlighting his role in advocating for the recognition of Indigenous contributions to art. Lawrence Paul Yuxweluptun, a Coast Salish artist who first met Janvier in 1992 during the Land, Spirit, Power exhibition at the National Gallery of Canada, recalled Janvier’s perspective on his work: “He said he looked at the land as if he were an eagle flying down from above. He’s flying with the eagles now.”