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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.

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.”

Munn’s “Mother and Child,” (c. 1930, Art Gallery of Hamilton) reimagines the Virgin and Child composition with the mother as a monumental figure, heroic in her nudity, fully cradling the small child within her shape.

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’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.

In 1912 Munn began studies at the Art Students League, New York where she experimented with Post-Impressionism, Cubism, and Synchromism—a decision that distinguished her from most of her Canadian contemporaries.

Munn painted few still lifes, but she was inspired by paintings of apples by Paul Cézanne and often drew this subject. Munn, “Still Life,” c. 1925, Art Gallery of Alberta.

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.

Illustration of the whirling square from “The Elements of Dynamic Symmetry,” (1926) by Jay Hambidge.