In 1880 the Art Association of Montreal established the Spring Exhibitions, an annual event which played a critical role in establishing a widespread appreciation of Canadian art. When the Association became the Montreal Museum of Fine Arts in 1948, it continued to sponsor the event for more than twenty years. Open to all artists, the exhibitions frequently received from 1,500 to 2,000 submissions, with many of the exhibitions having between 400 and 500 works. In its ninety-year history it presented 23,201 paintings, sculptures, etchings, engravings, stained glass and tapestry designs; from 1885 to 1947 architecture was included, and 1,292 pieces of painted china were exhibited between 1894 and 1926. In all the Spring Exhibitions represented the work of 3,163 artists from across Canada, with approximately 100 from the United States, Britain, or Europe.
In compiling a catalogue of these exhibitions, Evelyn McMann has produced a comprehensive record of Canadian art during nine decades of tremendous development. Her work refers the reader to biographical information about the majority of the artists, and makes available for the first time information on hundreds of lesser-known artists. The many cross-references make it possible to locate artists who exhibited under two or more names, and the record of more than 150 prizes award through the exhibitions adds another useful resource. For reasearchers and art historians this volume provides an invaluable point of access to a vast body of Canadian art.

In 1880 the Art Association of Montreal established the Spring Exhibitions, an annual event which played a critical role in establishing a widespread appreciation of Canadian art. When the Association became the Montreal Museum of Fine Arts in 1948, it continued to sponsor the event for more than twenty years. Open to all artists, the exhibitions frequently received from 1,500 to 2,000 submissions, with many of the exhibitions having between 400 and 500 works. In its ninety-year history it presented 23,201 paintings, sculptures, etchings, engravings, stained glass and tapestry designs; from 1885 to 1947 architecture was included, and 1,292 pieces of painted china were exhibited between 1894 and 1926. In all the Spring Exhibitions represented the work of 3,163 artists from across Canada, with approximately 100 from the United States, Britain, or Europe.
In compiling a catalogue of these exhibitions, Evelyn McMann has produced a comprehensive record of Canadian art during nine decades of tremendous development. Her work refers the reader to biographical information about the majority of the artists, and makes available for the first time information on hundreds of lesser-known artists. The many cross-references make it possible to locate artists who exhibited under two or more names, and the record of more than 150 prizes award through the exhibitions adds another useful resource. For reasearchers and art historians this volume provides an invaluable point of access to a vast body of Canadian art.

In 1880 the Art Association of Montreal established the Spring Exhibitions, an annual event which played a critical role in establishing a widespread appreciation of Canadian art. When the Association became the Montreal Museum of Fine Arts in 1948, it continued to sponsor the event for more than twenty years. Open to all artists, the exhibitions frequently received from 1,500 to 2,000 submissions, with many of the exhibitions having between 400 and 500 works. In its ninety-year history it presented 23,201 paintings, sculptures, etchings, engravings, stained glass and tapestry designs; from 1885 to 1947 architecture was included, and 1,292 pieces of painted china were exhibited between 1894 and 1926. In all the Spring Exhibitions represented the work of 3,163 artists from across Canada, with approximately 100 from the United States, Britain, or Europe.
In compiling a catalogue of these exhibitions, Evelyn McMann has produced a comprehensive record of Canadian art during nine decades of tremendous development. Her work refers the reader to biographical information about the majority of the artists, and makes available for the first time information on hundreds of lesser-known artists. The many cross-references make it possible to locate artists who exhibited under two or more names, and the record of more than 150 prizes award through the exhibitions adds another useful resource. For reasearchers and art historians this volume provides an invaluable point of access to a vast body of Canadian art.