Peter Rindisbacher was an artist that immigrated to Canada from Switzerland with his family when he was just 15. Living in the Red River Colony from 1821 to 1826, he became the first artist to paint and sketch the Canadian west.
Library and Archives Canada is releasing its latest podcast episode, “Peter Rindisbacher: Beauty by Commission”.
In this episode, we discuss the life of Peter Rindisbacher, an artist that immigrated to Canada from Switzerland with his family when he was just 15. Living in the Red River Colony from 1821 to 1826, he became the first artist to paint and sketch the Canadian west.
We sit down with Gilbert Gignac, former collections manager at Library and Archives Canada, to talk about Rindisbacher’s transition from Europe to Canada, and the impact he had on Canadian visual culture.
Subscribe to our podcast episodes using RSS or iTunes, or just tune in at Podcast–Discover Library and Archives Canada: Your History, Your Documentary Heritage.
For more information, please contact us at bac.balados-podcasts.lac@canada.ca.
Among the most infamous battles of the First World War and the most emblematic of its horrific slaughter, the Battle of the Somme began on July 1, 1916.
General view of the battlefield looking towards Contalmaison (Battle of the Somme). July, 1916 (MIKAN 3520937)
The attack was launched along a 30-kilometre front in northern France. Initially planned by the Allies as a French-British assault, it was intended to divert German forces from their ongoing siege at Verdun. The expectation was that an eight-day preliminary artillery bombardment would destroy the German wire and the forward German lines, allowing advancing forces to simply walk in and take possession of the territory. The artillery, however, failed to destroy either of these targets and at 7:30 a.m. on July 1, 1916, when the bombardment lifted, German infantry emerged from their bunkers to aim their machine guns at the gaps in the otherwise intact wire. An estimated 60,000 British and Allied troops, including close to 800 Newfoundlanders, were killed or wounded on that one day alone. The Battle of the Somme lasted until November 18, 1916. Only 12 kilometres of ground were gained, with 420,000 British, 200,000 French, and 500,000 German casualties.
Scene in Maple Copse (Battle of the Somme). July, 1916 (MIKAN 3520908)
This article contains historical language and content that some may consider offensive, such as language used to refer to racial, ethnic and cultural groups. Please see our historical language advisory for more information.
Today’s Inuit use a combination of Euro-Christian given names with Inuit surnames. This has not always been the practice. Prior to the first half of the 20th century, Inuit did not use surnames. Traditional Inuit names reflected things of importance (family, spirits, animals, the environment) and were neither gender-specific nor recognized shared family names.
By the 1920s, there was a push by missionaries, fur trade employees and government officials to identify Inuit in accordance with European norms and the patriarchal social model. These groups believed that the lack of surnames and consistent spelling made it difficult to identify each Inuk for trading, census information, and other records. The introduction of disc numbers was implemented not only to identify Inuit, but also to administer the distribution of family allowance, other benefits, and health care.
Taking the census and checking on family allowance matters, Windy River, [N.W.T. (Nunavut)], December 10, 1950 (a102695)
Finally, in 1941, the federal government chose to register each Inuk with a unique numeric identifier, which was stamped on a disc or printed on a card. These identifiers were often called “Eskimo disc numbers” or ujamiit (ujamik) in Inuktitut. Inuit were required to carry these numbers on their person, so they were often sewn onto clothing or hung from laces around the neck. These numbers were used until 1972 except in Quebec where the practice continued for a few more years.
Following are three photographs of a family taken sequentially holding their disc number that was written on a chalkboard.
Portrait of a man [David Arnatsiaq] holding a small chalkboard with the number 6008, at Pond Inlet (Mittimatalik/Tununiq), Nunavut, August 1945 (e002344278)
Portrait of a woman [Tuurnagaaluk] holding a small chalkboard with the number 6009, at Pond Inlet (Mittimatalik/Tununiq), Nunavut, August 1945 (e002344279)
Portrait of a woman [Juunaisi/Eunice Kunuk Arreak] holding a small chalkboard with the number 6010, at Pond Inlet (Mittimatalik/Tununiq), Nunavut, August 1945 (e002344280)
Library and Archives Canada holds evidence of the disc number system in photographs and documents, such as lists of individuals and their disc numbers, as well as lists showing the transition to surnames and social insurance numbers. Note that these records are restricted as they contain personal information.
This article contains historical language and content that some may consider offensive, such as language used to refer to racial, ethnic and cultural groups. Please see our historical language advisory for more information.
When doing historical research of any kind, researchers have to choose a variety of search words. They hope that by using the correct word they can locate and use both primary and secondary sources. Choosing the right search terms is a challenge at the best of times, but the challenges involved in finding Indigenous content are particularly significant. Many search words reflect historical biases and misunderstandings. Over time, names or terms change entirely while spellings are altered to suit the period, location and circumstances.
And the terms are still changing.
There is little evidence that, as knowledge keepers, First Nations, Métis or Inuit were involved in the historical creation and development of the documents found at Library and Archives Canada (LAC). However, the individuals or institutions that created the documents left a strong imprint on them that is coloured by the why, when and where of their creation.
The language and imagery used in the past, however problematic, remain in the database descriptions. Terms such as “squaw,” “half-breed,” “massacre,” “uncivilized” and “victory” should be used with careful consideration and in an appropriate context.
Indian squaw in her Sunday best with Montréal in the distance painted by Francis George Coleridge, 1866 (MIKAN 2836790)
Indian tepee and rebel Half Breed [Métis], 1885 (MIKAN 2933963)
A half-cast [Métis] and his two wives (MIKAN 2835810)
The sheer number of these type of descriptions makes searching for a particular document or photograph a formidable task.
LAC does modify the descriptions in its collection. While ensuring the integrity of the original description, LAC strives to add clarity to incomplete data and modify inappropriate language when examples come to our attention. We never alter an original record or image, only the description that was created for it.
[Close-up portrait of a man wearing suspenders, Chesterfield Inlet (Igluligaarjuk), Nunavut]. Original Title: Native type, Chesterfield Inlet, N.W.T., July, 1926 (MIKAN 3379826)
Fore-edge images are painted images on the edges of book pages. The pages are either fanned or closed for the image to be visible. These types of paintings can be found as far back as the 10th century. Early images were symbolic or decorative, but the art evolved into scenic landscapes or portraiture by the 18th century. Library and Archives Canada’s (LAC) Rare Book Collection has 12 volumes that are known to have fore-edge paintings.
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