Deer Figurine, Leo Mol, Porcelain, 1960s
When many of us think of “pastoral art” we picture rolling fields, delicate trees, a sunset or a sunrise, a tender farm animal. We might instantly think of Asher Brown Durand’s Pastoral Landscape (1861), or if we’re versed in Canadian landscape art, perhaps Lionel LeMoine FitzGerald’s impressionistic Summer Afternoon, The Prairie (1921). Throughout the 18th and 19th century, in the wake of the industrial revolution and with growing urbanization, many artists turned their brushes outwards toward the countryside. As the city loomed dark and hazy, the offerings of the countryside – nature, solitude, flora and fauna – seemed idyllic, dream-like and aspirational.
Wood box, David and Penny Square, satinwood, black walnut, ink, metal hinge, varnish, 1984.
This rural love is something familiar to those of us who abide in the prairies. As we sit in traffic on weekday evenings, dodge garbage on the street, and go to court to fight our parking tickets, we often daydream of our weekend plans to drive out to the cottage, to go on a day hike, or to visit family three small towns over. The prairies have a pastoral love built into them, and many prairie artists have captured this love and translated it into their respective mediums.
This collection of items are a select few from the MCML collection that fall under a category I have named craft pastoral. Like the pastoral painting we’re familiar with, craft pastoral celebrates nature, solitude, and harmony, and manifests in representations of the everyday of rural life. These pieces by Manitoba artists depict rabbits and deer like the ones you would see at the river bank, in your backyard, or on a day trip out of the city.
Rabbit figurine, Leo Mol, porcelain, 1960s
Rabbit and deer in the prairies have long served not only as cherished nature companions, but also important and valued animals for survival and economy. Rural, urban, and Indigenous communities have long used and celebrated these animals for their ability to provide sustenance, warm furs, and important materials for making. The care and precision rendering these sweet animals echoes the cherished role and labour that the preparation of these animals for use involves.
Rabbit Carving, Silas Keno, stone, 1970s
When we look at pieces like this rabbit carving, done by Silas Kino from Anishininew-Okimawin, we must also consider connections to the land which don’t centre an escape from urban life. For thousands of years, Indigenous peoples have been stewards of Turtle Island, and have lived in relation to the land, its animals, and its plants. In the prairies, Indigenous art and art-making lays the groundwork for pastoral art, or craft pastoral. Works by Indigenous artists, both traditional and contemporary, relay similar themes- reverence of nature, representation of the everyday, the beauty of animals – but also go a step further and acknowledge the land and its animals as kin and valuable teachers.
Dylan Stokes
MCML Assistant Exhibit Curator
2025
