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This work demonstrates how, by the early 1920s, Munn had refined her experimentations with colour to achieve a rhythm and composition akin to musicality, an attribute much sought after by artists engaged with abstraction. “The Dance,” c. 1923, private collection.

This work demonstrates how, by the early 1920s, Munn had refined her experimentations with colour to achieve a rhythm and composition akin to musicality, an attribute much sought after by artists engaged with abstraction. “The Dance,” c. 1923, private collection.

Munn is remarkable for her commitment to the nude as an important subject in art, especially in light of the well-documented discomfort of Toronto audiences in the 1920s and 1930s with such paintings. “Untitled (Nude in Forest),” c. 1923, private collection.

Munn is remarkable for her commitment to the nude as an important subject in art, especially in light of the well-documented discomfort of Toronto audiences in the 1920s and 1930s with such paintings. “Untitled (Nude in Forest),” c. 1923, private collection.

In Munn’s “Untitled (Four Figures in the Woods),” (c. 1928–30, private collection) the four bathers are views of one self-replicating figure seen through a prism and rotated vertically and horizontally, from the front and back.

In Munn’s “Untitled (Four Figures in the Woods),” (c. 1928–30, private collection) the four bathers are views of one self-replicating figure seen through a prism and rotated vertically and horizontally, from the front and back.

In a letter to Lionel LeMoine FitzGerald in 1934, Bertram Brooker described Munn’s Passion drawings as “simply stupendous.” Munn, “The Crucifixion (Passion Series),” c. 1934–35, National Gallery of Canada.

In a letter to Lionel LeMoine FitzGerald in 1934, Bertram Brooker described Munn’s Passion drawings as “simply stupendous.” Munn, “The Crucifixion (Passion Series),” c. 1934–35, National Gallery of Canada.

Munn explores the theme of the Passion of Christ in two styles of painting, spanning the late 1920s and early 1930s. Munn, “Untitled (Crucifixion),” c. 1927–28, private collection.

Munn explores the theme of the Passion of Christ in two styles of painting, spanning the late 1920s and early 1930s. Munn, “Untitled (Crucifixion),” c. 1927–28, private collection.

In “Untitled (Two Nudes in a Landscape),” (c. 1928–30, private collection) Munn uses the classical subject of “the bathers” to explore how figures integrate with the natural landscape features.

In “Untitled (Two Nudes in a Landscape),” (c. 1928–30, private collection) Munn uses the classical subject of “the bathers” to explore how figures integrate with the natural landscape features.

The title word “composition” from Munn’s painting “Composition (Horses),” (c. 1927, Art Gallery of Alberta) attests to her affinity with the ideas of art and spirituality of Wassily Kandinsky, discussed in his key text “Concerning the Spiritual in Art.”

The title word “composition” from Munn’s painting “Composition (Horses),” (c. 1927, Art Gallery of Alberta) attests to her affinity with the ideas of art and spirituality of Wassily Kandinsky, discussed in his key text “Concerning the Spiritual in Art.”

“Untitled (Deposition),” (c. 1926–28, National Gallery of Canada) belongs to the second group of paintings in Munn’s “Passion” series, which were likely produced into the 1930s.

“Untitled (Deposition),” (c. 1926–28, National Gallery of Canada) belongs to the second group of paintings in Munn’s “Passion” series, which were likely produced into the 1930s.

“Last Supper,” (1938, Art Gallery of Ontario) was one of only three works by Munn that entered public collections during her lifetime.

“Last Supper,” (1938, Art Gallery of Ontario) was one of only three works by Munn that entered public collections during her lifetime.

Munn’s drawing virtuosity and ability to integrate advanced modern aesthetics with conventional subject matter, is her unique contribution to modern art. Munn, “Descent from the Cross,” c. 1934–35, Robert McLaughlin Gallery.

Munn’s drawing virtuosity and ability to integrate advanced modern aesthetics with conventional subject matter, is her unique contribution to modern art. Munn, “Descent from the Cross,” c. 1934–35, Robert McLaughlin Gallery.

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