NORVAL MORRISSEAU
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Norval Morrisseau
BIOGRAPHY
Norval Morrisseau was born in Fort William (now Thunder Bay) May 14, He died in Toronto on December 4, “My art speaks and will continue to speak, transcending barriers of nationality,
of language and of other forces that may be divisive, fortifying the greatness of the spirit
that has always been the foundation of the Ojibwa people.”
Norval Morrisseau – Travels to the House of Invention
Norval Morrisseau (Copper Thunderbird) was a Grand Shamon of the Ojibwa people. Founder
of the Woodland School of art, heralded as the Picasso of the North, Morrisseau as a single force,
brought his message to all through his art. Honoured with the Order of Canada and Lifetime Achievement Award from the National Aboriginal Achievement Foundation as well as Holder of the Eagle Feather (the highest honour awarded by the Assembly of First Nations), Morrisseau has forever changed the face of art.
One of seven children, Morrisseau was raised by his maternal grandparents. He left school after the fourth grade and developed his art from while working in mi
Norval Morrisseau - Biography
Biography
An Anishinaabe, he was born March 14, on the Sand Point Ojibway reserve near Beardmore, Ontario. Some sources quote him as saying that he was born in Fort William, now part of Thunder Bay, Ontario, on the same date in His full name is Jean-Baptiste Norman Henry Morrisseau, but he signs his work using the Cree syllabics writing ᐅᓵᐚᐱᐦᑯᐱᓀᐦᓯ (Ozaawaabiko-binesi, unpointed: ᐅᓴᐘᐱᑯᐱᓀᓯ, "Copper/Brass Bird"), as his pen-name for his Anishnaabe name ᒥᐢᒁᐱᐦᐠ ᐊᓂᒥᐦᑮ (Miskwaabik Animikii, unpointed: ᒥᐢᑿᐱᐠ ᐊᓂᒥᑭ, "Copper Thunderbird").
In accordance with Anishnaabe tradition, he was raised by his maternal grandparents. His grandfather, Moses Potan Nanakonagos, a shaman, taught him the traditions and legends of his people. His grandmother, Grace Theresa Potan Nanakonagos, was a devout Catholic and from her he learned the tenets of Christianity. The contrast between these two religious traditions became an important factor in his intellectual and artistic development.
At the age of six, he was sent to a Catholic residential school, where students were educated in the European tradition, native culture was repressed, and the use of nat
Biography
Norval Morrisseau (–) is considered by many to be the Mishomis, or grandfather, of contemporary Indigenous art in Canada. His life has been sensationalized in newspapers and documentaries while his unique artistic style has pushed the boundaries of visual storytelling. The creator of the Woodland School of art and a prominent member of the Indian Group of Seven, Morrisseau is best known for using bright colours and portraying traditional stories, spiritual themes, and political messages in his work.
Early Years
Anishinaabe artist Norval Morrisseau was born in at a time when Indigenous peoples in Canada were confined to reserves, forced to attend residential schools, and banned from practising traditional ceremonial activities. He was the oldest of five children born to Grace Theresa Nanakonagos and Abel Morrisseau, and, in keeping with Anishinaabe tradition, he was sent to live with his maternal grandparents at Sand Point reserve on the shores of Lake Nipigon, Ontario. There, Morrisseau learned the stories and cultural traditions of his peoples from his grandfather Moses Potan Nanakonagos, a shaman trained within the Midewiwin spiritual
Significance & Critical Issues
Anishinaabe artist Norval Morrisseau worked outside the established traditions of European visual culture and on occasion used his art to make forceful political statements. He defied categorization and challenged conventional understandings of Indigenous art. Although the media judged him harshly for his alcoholism and his traditional beliefs, such as shamanism, Morrisseau succeeded in raising awareness of Indigenous aesthetics and cultural narratives as he developed an artistic vocabulary that inspired a new Canadian art movement.
Racial Politics and Art
When Norval Morrisseau arrived on the Canadian art scene in , he was something of an anomaly. At a time when enforced assimilation was national policy and First Nations had only recently been accorded the right to vote in federal elections, few Indigenous people made art that was viewed as contemporary within the narrow framework accepted in mainstream cultural circles. Most Indigenous artworks were considered artifacts, better displayed in ethnographic museums.
In the late s and early s, the federal government had invested heavily in the West Baffin Eskimo Co-opera
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