Tag Archives: Lester B. Pearson

John Colin Forbes and Kenneth Keith Forbes, a lineage of official portraitists!

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By Geneviève Couture

The careers of painters John Colin Forbes (1846–1925) and his son Kenneth Keith Forbes (1892–1980) clearly illustrate how particular prime ministers were their muses and patrons. Between them, the two portraitists painted seven Canadian prime ministers, two governors general, five chief justices of the Supreme Court, 11 speakers of the House of Commons and 14 speakers of the Senate. These artists also painted a king and queen of England on behalf of the Canadian government. Over a period of more than 90 years, the Forbeses helped to build an artistic and visual heritage depicting the executive, legislative and judicial branches of the Canadian government.

John Colin Forbes

John Colin Forbes was born in Toronto in 1846. In the 1860s, he studied painting in Paris and London before returning to Canada. He was a founding member of the Ontario Society of Artists (1872) and the Royal Canadian Academy of Arts (1880).

Forbes was quickly recognized as a portraitist and received numerous commissions. He painted Lord Dufferin and the Marquess of Lansdowne, both governors general of Canada. Between 1878 and 1893, he created portraits of Sir John A. Macdonald, Alexander Mackenzie, Sir Charles Tupper and Wilfrid Laurier. None of these were official portraits, but Tupper’s is in the Parliament of Canada, while Macdonald’s and one of Laurier’s are in the National Gallery of Canada. Forbes was also commissioned to produce four official portraits of speakers of the House of Commons and six official portraits of speakers of the Senate.

The artist had a special relationship with Sir Wilfrid Laurier, who called Forbes a “friend.” He painted Laurier for the first time in 1885, based on a photo taken around 1882 by William Topley’s studio in Ottawa.

Black-and-white photo of a seated man in a suit.

Wilfrid Laurier, MP. Topley Studio, 1882. (a013133-v8)

The second painting of Laurier by Forbes was presented to the Prime Minister by his friends and Liberal Party supporters on May 15, 1902. In his speech to the House of Commons, Laurier stated, “It is with a very sincere heart indeed that both in my own name and in the name of my wife, I accept from the unknown friends […] this memento which is the work of a great Canadian artist.”

Lamenting that Forbes was at the time practicing his art in the United States, Laurier added:

Unfortunately Canada, which is still a young country, has not afforded to artists all the help it might have given in the past. I trust that in the future Canadian artists and talents will receive more encouragement from the Canadian people that they received hitherto. For my part, it is with some regret, I acknowledge that perhaps the Government might have done more than it has for the encouragement of native, artistic talent.

Finally, regretting not having children to whom he could bequeath the painting, Laurier made this wish: “Someday I hope it will be in a national museum, not with a view of remembering me to posterity, but for the glory of Mr. Forbes, the artist who painted it.” A few years later, in 1906, Laurier himself gave the painting to the National Gallery of Canada.

A royal commission

His special relationship with Prime Minister Laurier earned Forbes his most prestigious commission: a painting of King Edward VII and Queen Alexandra. He was the first Canadian painter to have a sitting with a British monarch, and official portraits of Edward VII would adorn the House of Commons.

The correspondence between Forbes and Laurier on this matter, which is part of the Sir Wilfrid Laurier fonds at Library and Archives Canada, indicates that Forbes had requested the commission from Laurier, with whom he had previously discussed it.

Black-and-white photo of a typed page.

Letter from John Colin Forbes to Wilfrid Laurier dated April 14, 1904, requesting the commission to paint the King and Queen on behalf of the Canadian government. (Wilfrid Laurier fonds, MG26 G 1(A), Vol. 312, page 84516, microfilm C-810)

Laurier agreed after he received a petition in support that was signed by 92 of the 214 members of Parliament.

A black-and-white image of a scanned page from microfilm.

The first of three pages of the petition, from members of the House of Commons to Prime Minister Wilfrid Laurier, to commission painter John Colin Forbes to paint a portrait of the King for the House of Commons. (Wilfrid Laurier fonds, MG26 G 1(A), Vol. 312, page 84518, microfilm C-810)

Laurier forwarded the request to the Governor General, Lord Minto, who helped arrange access to the royals for Forbes.

A black-and-white image of a scanned page from microfilm.

Letter from Prime Minister Wilfrid Laurier to Governor General Lord Minto, recommending that John Colin Forbes be commissioned to do the painting, and that steps be taken to that effect with the King. (Wilfrid Laurier Fonds, MG26 G 1(A), Vol. 326, page 87632, microfilm C-813)

The sitting was granted, and Forbes travelled to England to paint the portraits. Unfortunately, the paintings were destroyed in the Parliament fire in 1916, less than 12 years after their creation. Forbes’s four official portraits of the speakers of the House of Commons and six official portraits of the speakers of the Senate survived the fire.

Black-and-white photo of a burning building.

The eastern part of Centre Block in flames, Ottawa, 1916. (a052822-v8)

Sir John A. Macdonald and Sir Wilfrid Laurier: inspiring portraits

Two portraits of prime ministers painted by Forbes inspired their successors. In a Winnipeg Free Press article published on March 20, 1965, journalist Peter C. Newman reported that, depending on their political allegiance, new prime ministers had either Sir John A. Macdonald’s or Sir Wilfrid Laurier’s portrait installed in their East Block office in Ottawa. This practice changed under Lester B. Pearson, when the Prime Minister asked for both paintings in his office.

Photographs taken by Duncan Cameron (recently discussed in a blog post about news photographers and prime ministers) confirm that John Diefenbaker, Lester B. Pearson and Pierre Elliott Trudeau had paintings by Forbes in their offices. Paul Martin’s office was decorated with the first painting of Laurier by Forbes from 1885.

Black-and-white photo of a man taking a photograph of a photographer who is photographing him.

Pierre Elliott Trudeau taking a photograph with news journalist Duncan Cameron’s camera, June 28, 1968. Photo: Duncan Cameron (a175919)

Kenneth Keith Forbes

The son of John Colin Forbes, Kenneth Keith Forbes, also became a famous portraitist. Born in Toronto in 1892, he began drawing at the age of four under his father’s tutelage. Between 1908 and 1913, he studied art in England and Scotland. When the First World War started in 1914, the younger Forbes joined the British army as an ordinary soldier. He fought in France, where he was injured and gassed. Forbes was promoted to captain, and in 1918 he was transferred to the Canadian Army (specifically, the Canadian War Records Office) as a war artist. He painted scenes of battles as well as portraits of Canadian officers, including Brigadier General D. Draper.

Library and Archives Canada holds the recently digitized military file of Kenneth Keith Forbes.

Oil painting by Kenneth Keith Forbes from 1918. The scene shows the defence of Sanctuary Wood by the Canadian military near Ypres, Belgium, in 1916.

The Defence of Sanctuary Wood (1916), by Kenneth Keith Forbes, 1918. (e010751163-v8)

Official portraitist

A few years later, Forbes returned to Toronto; continuing in the family tradition, he focused mainly on portraits.

Among other things, he painted the official portraits of seven speakers of the House of Commons, eight speakers of the Senate and five chief justices of the Supreme Court.

Forbes also painted the portraits of prime ministers Robert Borden, R.B. Bennett and John Diefenbaker. The first portrait of R.B. Bennett painted in 1938 by Forbes was offered to the Prime Minister by members of Parliament, senators and Conservative Party members upon his retirement from politics. It is now in the New Brunswick Museum, where Bennett bequeathed it.

Forbes then painted the official portrait of Sir Robert Borden for the House of Commons. The painting was commissioned by the Speaker of the House, Gaspard Fauteux, whose portrait Forbes had painted the previous year. The aim was to complete the collection of official portraits representing Canada’s prime ministers in the House of Commons. This painting was unveiled in Parliament on June 11, 1947, 10 years after Borden’s death, along with a portrait of William Lyon Mackenzie King, with President Harry Truman of the United States in attendance.

In his diary, Mackenzie King explains why he suggested that his portrait and that of Borden, both prime ministers in the major wars, be unveiled at the same ceremony.

A black-and-white image of a typewritten page of William Lyon Mackenzie King’s diary dated May 19, 1947.

Excerpt from the May 19, 1947, entry in William Lyon Mackenzie King’s diary, explaining how he came to suggest that his portrait and that of Borden, both prime ministers in the major wars, be unveiled at the same ceremony. (William Lyon Mackenzie King fonds, MG26 J 13, May 19, 1947)

A decade later, Forbes painted two portraits of John Diefenbaker. The first was given to Diefenbaker by members of his Cabinet and hung in the prime minister’s official residence at 24 Sussex Drive, and later in Stornoway, the official residence of the leader of the opposition. The second portrait of Diefenbaker was commissioned by freemasons from Washington and is now in Arlington, Virginia.

In 1962, Forbes painted the official portrait of R.B. Bennett for the House of Commons. The commission came close to 25 years after his earlier painting, and 15 years after Bennett’s death. It was requested by Prime Minister John Diefenbaker and the Speaker of the House of Commons, Roland Michener. Once again, the aim was to fill in gaps in the collection of official portraits of Canada’s prime ministers in the House of Commons.

Conclusion

The careers of portraitists John Colin Forbes and Kenneth Keith Forbes reveal the sometimes unsuspected links between the arts and politics. The father and son clearly benefited from their good relationships with parliamentarians, particularly prime ministers, receiving many highly prestigious commissions.

Prime ministers also benefited from the work of artists like the Forbeses, whose paintings helped to commemorate and glorify the men who held the country’s highest political positions and inspired their successors. As we have seen, political affiliation was not at issue in requests to the father-and-son artists to contribute to this commemorative undertaking by painting portraits of prime ministers in office and their predecessors. The Forbes portraitists helped to establish the role of prime ministers in the country’s political memory.

Moreover, the talent for painting portraits did not end with John Colin Forbes and Kenneth Keith Forbes. The latter married Jean Mary Edgell, who was also a painter, and their daughter, Laura June McCormack (1921–1961), painted some portraits now in the Legislative Assembly of Ontario, notably one of Louis-Hippolyte La Fontaine.

For additional information about portraits of prime ministers, read Andrew Kear’s thesis, Governing Likenesses: The Production History of the Official Portraits of Canadian Prime Ministers, 1889–2002.

Geneviève Couture is an archivist with the Prime Minister Papers project in the Science and Governance Private Archives Division at Library and Archives Canada.

The 50th anniversary of Canada’s Official Languages Act

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By Normand Laplante

Canada’s Official Languages Act celebrates its 50th anniversary in July 2019! Library and Archives Canada holds many archival documents chronicling the genesis and evolution of the Act, which has been so important for the recognition of Canada’s linguistic duality.

In 1963, the government of Lester B. Pearson created the Royal Commission on Bilingualism and Biculturalism “to inquire into and report upon the existing state of bilingualism and biculturalism in Canada and to recommend what steps should be taken to develop the Canadian Confederation on the basis of an equal partnership between the two founding races, taking into account the contribution made by the other ethnic groups to the cultural enrichment of Canada and the measures that should be taken to safeguard that contribution.” The Commission archives bear witness to meetings between the Commission’s two co-chairs, André Laurendeau and Davidson Dunton, and provincial governments, as well as public hearings held in 1964 and 1965 across Canada, during which over 400 briefs were submitted by individuals and organizations. A broad research program was also put in place to document the main points of discussion. In the first volume of the final report, tabled in the House of Commons in December 1967, the Commission recommended a federal law on official languages as “the keystone of any general programme of bilingualism in Canada.”

A black-and-white photograph of two men with a microphone between them.

André Laurendeau and Davidson Dunton, co-chairs of the Royal Commission on Bilingualism and Biculturalism. ©Library and Archives Canada (a209871)

During its meeting on March 26, 1968, the federal Cabinet approved Prime Minister Pearson’s proposal to follow up on the Commission’s recommendation of a bill on official languages and to introduce it in Parliament during the upcoming parliamentary session. With the goal of reinforcing national unity, the proposal was one of Pearson’s last acts before leaving politics in April 1968. He was succeeded as leader of the Liberal Party and as Prime Minister of Canada by Pierre Elliott Trudeau. The Trudeau Cabinet’s deliberations on the bill are well documented in the Cabinet Conclusions for the period from August 1968 to the coming into force of the Act in September 1969.

Two typewritten pages titled “Official Languages Bill.”

Cabinet conclusions, meeting of August 14, 1968, pages 6 and 7 (note that Cabinet conclusions were written in English only at that time). © Governement of Canada (e000836640 and e000836641) © Governement of Canada

These documents reveal some of the nationwide issues that the government considered in drafting the bill, including possible amendments to Canada’s constitution, the definition of “first official language spoken as a mother tongue” as a criterion for creating bilingual districts, and the use of official languages for the administration of justice in provincial courts. The Cabinet at the time also studied the duties and responsibilities of a new Commissioner of Official Languages, and the time needed to implement the dispositions of the Act in the federal public service.

The new Official Languages Act, which came into force on September 7, 1969, confirmed the status of English and French as the two official languages of Canada. It reflected the endorsement by the Trudeau government of various recommendations made by the Royal Commission. From that point on, all orders in council, regulations, acts, ordinances and other public documents of the Parliament of Canada and the federal government had to be produced in both official languages, and it was the responsibility of departments and agencies, and judicial or quasi-judicial bodies, to ensure that the public could communicate with them and receive their services in both official languages. In the same spirit, anyone testifying before a judicial or quasi-judicial body could do so in his or her official language of choice.

The Act also established the position of Commissioner of Official Languages. The role of the Commissioner, who is directly accountable to Parliament, is to ensure recognition of the status of each of the official languages and compliance with the spirit of the Act in the administration of the affairs of Parliament and the Government of Canada. The Commissioner has the authority to investigate public complaints about the application of the Act, to conduct such studies as are deemed necessary, and to report annually to Parliament on the status of the Act. In 1970, Keith Spicer became the first Commissioner of Official Languages for a seven-year term.

A colour reproduction of a page from a learning kit about bilingualism with a story of two children learning French / English and a drawing of the kids thanking M. Spicer.

A page taken from hte learning kit called Oh! Canada produced in 1971. © Government of Canada (e011163973)

Maxwell Yalden (1977–1984), D’Iberville Fortier (1984–1991), Victor Goldbloom (1991–1999), Dyane Adam (1999–2006), Graham Fraser (2006–2016), Ghislaine Saikaley (interim, 2016–2018) and Raymond Théberge (since 2018) have succeeded Spicer as Commissioner.

The Act also gave the federal government the power to designate bilingual districts, a concept suggested by the Commission, within which federal offices must provide bilingual services. The boundaries of these regions were to be determined by the Bilingual Districts Advisory Board; however, this section of the Act was never implemented. Despite the recommendations of two iterations of the advisory board in 1971 and 1975, the government abandoned the concept of bilingual districts, considering it to be unworkable since a consensus on the boundaries could not be achieved.

The proclamation of the new Constitution Act, 1982 and its Canadian Charter of Rights and Freedoms led to the modernization of the Official Languages Act. The Charter enshrines the language rights of Canadians. It guarantees the protection of English and French as the official languages of Canada and New Brunswick, as well as the right to minority-language education for Francophone communities outside Quebec and the Anglophone community in Quebec. In 1988, the Canadian government adopted the new Official Languages Act, which more precisely defines constitutional language guarantees, the federal government’s role and responsibilities in supporting these rights, including the services provided to Canadians and possible legal remedies for non-compliance with the law, and the effective use of both official languages in the federal public service workplace.

A colour copy of the Charter with a piece of adhesive tape in the corner. The coat-of-arms of Canada is centred at the top of the page, with the title, Canadian flag and silhouettes on both sides below it. At the bottom is an illustration of the Parliament building. The text of the Charter is displayed in four columns.

Canadian Charter of Rights and Freedoms, Robert Stacey fonds. © Government of Canada (e010758222_s1)

Part VII of the new Act sets out the federal government’s commitment, through positive measures, to enhance the vitality and support the development of official-language minority communities, and to significantly promote English and French in Canadian society.

Find out more …

Royal Commission on Bilingualism and Biculturalism:

Cabinet Conclusions:

Official Languages Act:

Normand Laplante is a senior archivist in the Social Life and Culture Private Archives Division of the Archives Branch at Library and Archives Canada.

Canadian prime ministers through news photographers’ lenses

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By Maude-Emmanuelle Lambert

Library and Archives Canada’s (LAC) Prime Ministers and the Arts exhibition explores the sometimes unusual links between artistic forms of expression and the prime ministers of Canada. In particular, the exhibition includes architectural photographs by Pierre Elliott Trudeau (1958), Jean Chrétien’s playful selfie (Andrew Danson, Unofficial Portraits, 1985) and the large yellow-and-orange canvas by artist Carl Beam (2000), inspired by Lester B. Pearson.

These works reveal what may be an unsuspected artistic side to our prime ministers. They also show how the role and the personality of some prime ministers have—leaving politics aside—inspired a number of artists. Yousuf Karsh, for instance, whose photographs are preserved by LAC, made portraits of prime ministers of many generations and political stripes during his career, including William Lyon Mackenzie King, Robert Borden, Pierre Elliott Trudeau and Joe Clark.

Black-and-white photograph of Prime Minister William Lyon Mackenzie King at his desk. One of the Parliament buildings is visible in the background through a window.

William Lyon Mackenzie King at his desk, March 15, 1947. King sat for Yousuf Karsh starting in 1936. Photograph by Yousuf Karsh (e010752289)

However, some of the most famous and most iconic photos of our prime ministers are not by portrait photographers. Many were taken by news photographers whose names are unfamiliar to the public. Unlike portrait photographers, who have time to plan their background settings and research their subjects, news photographers must be both patient and react quickly. News photographers must often wait for hours before taking the “snapshot” that tells the story of an event, expresses a feeling, or even captures a prime minister’s personality trait on the fly.

You may have seen the famous photograph of Pierre Elliott Trudeau sliding down a bannister like a child! Taken during the Liberal Party of Canada leadership convention in 1968, this photo is one of the most remarkable shots in the career of news photographer Ted Grant. In a book by Thelma Fayle about Grant’s life work, the photographer explains that if he had not heard the laughter of people nearby, he would probably have missed the moment entirely: “The laughter triggered me to turn around and catch three shots before Trudeau was almost on top of me” (Thelma Fayle, Ted Grant: Sixty Years of Legendary Photojournalism, Victoria, Heritage House Publishing, 2013, p. 67-68).

Born in Toronto in 1929, Ted Grant became a photographer in the mid-1950s. Seen by many as a true pioneer in Canadian news photography (some even call him the “father of Canadian photojournalism”), he worked on contract for various newspapers (including the Ottawa Citizen), the National Film Board and the Canadian Government Travel Bureau. During his career, Grant photographed many leadership campaigns, elections (federal and provincial) and first ministers’ conferences. While following the campaign of Progressive Conservative leader Robert Stanfield, Grant befriended a young Joe Clark, the future prime minister, and made connections with his political entourage and family. Many black-and-white photos in the Joe Clark fonds and Ted Grant fonds show Clark during public appearances such as his swearing-in ceremony as well as in more private settings such as working meetings with his principal advisors.

Black-and-white photograph of Joe Clark standing and being sworn in as Prime Minister of Canada. Seated at his side is Governor General Edward Schreyer.

The swearing-in of Joe Clark as the 16th Prime Minister of Canada, June 4, 1979. Photograph by Ted Grant (e010764766)

The special relationship between Ted Grant and the Clarks gave him access to the Prime Minister’s private and family life. The photographer took the very first photos of Catherine, the couple’s only child, and he was invited to informal family gatherings and garden parties. Though Grant was in the room, the Clarks seemed able to ignore his camera. According to Clark’s wife, Maureen McTeer, the photographer knew how to be patient and keep a low profile: “Ted will wait for the photograph. If you are aware of his presence, he will wait until you are not. That is a very unusual quality for a photographer” (Fayle, p. 75). But while Grant captured happy moments, such as the Prime Minister sitting on the floor at 24 Sussex Drive relaxing with his wife and daughter, he also caught times of obvious disappointment, including election night 1980.

Black-and-white photograph depicting Prime Minister Joe Clark with his wife and daughter, sitting on the floor in the living room, in front of a fireplace.

Prime Minister Joe Clark and his family (spouse Maureen McTeer and daughter Catherine) at 24 Sussex Drive (e002712822). This photograph is an excellent example of the exceptional, trusting relationship between the Clark family and photographer Ted Grant. Over several decades, Grant documented many important events in Clark’s career, as well as intimate family moments.

Because news photographers capture an instant, it is not surprising that their photo collections include snapshots of prime ministers in the heat of political action. Consider, for instance, the Louis Jaques photo of a young John Diefenbaker speaking in the House as an MP aspiring to become leader of the Progressive Conservative Party of Canada. Or the Robert Cooper photo of John Turner speaking to a crowd during his campaign for the leadership of the Liberal Party of Canada.

Black-and-white photograph showing MP John Diefenbaker standing and speaking to the House of Commons. Around him, MPs are sitting at their desks.

John Diefenbaker, MP, speaking in the House of Commons, 1948. Photograph by Louis Jaques (C-080883)

Black-and-white photograph of John Turner speaking into a microphone in front of a crowd. A Canadian flag is visible.

John Turner speaking to a crowd in Ottawa, at the Liberal Leadership Convention in 1984. Photograph by Robert Cooper (a152415)

Interestingly, nearly half of the photographs preserved by LAC are in photojournalism collections. Ted Grant’s collection alone includes almost 216,000 black-and-white and colour photographs, photo negatives and contact sheets, while there are 175,000 in the Duncan Cameron collection. Much like Grant, Duncan Cameron began his career as a news journalist in the 1950s. Born in Glasgow, Scotland, Cameron immigrated to Canada in 1954 and covered Parliament Hill for many years, photographing and forming relationships with various political figures. Cameron was also a contract photographer for Time Life Inc. from 1963 to 1976, and he completed his career at the Public Archives of Canada, to which he donated his collection.

Black-and-white photograph showing four former Canadian prime ministers: Pierre Elliott Trudeau, John Turner, Jean Chrétien and Lester B. Pearson.

Pierre Elliott Trudeau, John Turner, Jean Chrétien and Prime Minister Lester B. Pearson after a Cabinet shuffle, April 4, 1967. Photograph by Duncan Cameron (a117107)

In short, the collections created by news photographers not only document Canada’s political history in exceptional ways but also highlight more private times in the lives of Canadian prime ministers. Whether capturing the heat of a moment or a moment of quiet, or the rise or fall of a prime minister, these artists have managed to capture different sides of prime ministers’ personalities.

Black-and-white photograph of Prime Minister Pierre Elliott Trudeau taking a photograph

Pierre Elliott Trudeau taking a photograph with one of Duncan Cameron’s cameras, June 28, 1968. Photograph by Duncan Cameron (a175919)

Maude-Emmanuelle Lambert is an archivist in the Private Archives Division, Science and Governance, at Library and Archives Canada.

A diplomat, a Prime Minister, and a scholar: remembering Lester B. Pearson

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By Mariam Lafrenie

It goes without saying that the Right Honourable Lester B. Pearson achieved much in his life. Whether you look at his success politically, academically or even athletically—Pearson always excelled. Although Pearson served as Canada’s 19th prime minister, his legacy and indeed his influence began long before his prime ministership: as chairman of the NATO council (1951), as President of the United Nations General Assembly (1952), and as a Nobel Peace prizewinner (1957).

“Nevertheless, [Pearson’s] five-year legacy is very impressive: a new flag, the Canada Pension Plan, universal medicare, a new immigration act, a fund for rural economic development, and the Royal Commission on Bilingualism and Biculturalism which led to the foundation of a bilingual civil service.”

Excerpt from First Among Equals

A black-and-white photograph of a formally dressed couple. The man is holding a box with a medallion.

Lester B. Pearson and his wife, Maryon at the Nobel Peace Prize Award Ceremony, Oslo, Norway, December 1957. Photograph by Duncan Cameron (MIKAN 3209893)

A black-and-white photograph of a man standing up and addressing a room of people.

Lester B. Pearson, at the United Nations Conference on International Organization, San Francisco, Calif., USA, 1945 (MIKAN 3193176)

Rising quickly through the ranks and moving from one portfolio to another, Pearson proved himself a worthy and talented diplomat. After a 20-year career in External Affairs, his success did not end there, but followed him throughout the next decade as leader of the Liberal Party (1958-1968). Without a doubt, some of his most exciting—if not his most significant achievements—came during his time as Prime Minister.

A flag for Canada

The quest for a Canadian flag—one that represented everything that Canada had become in the last century and all that Pearson hoped it could become—was fraught with bitter debate and controversy. Indeed, as many may recall, “The Great Flag Debate” raged for the better part of 1964 and saw the submission of approximately 3,000 designs by Canadians young and old.

“Under this flag may our youth find new inspiration for loyalty to Canada; for a patriotism based not on any mean or narrow nationalism, but on the deep and equal pride that all Canadians will feel for every part of this good land.”

Address on the inauguration of the National Flag of Canada, February 15, 1965

These words, spoken by Lester B. Pearson during the inaugural ceremony of the Red Maple Leaf flag on February 15, 1965 at Parliament Hill, highlight precisely what he aspired to achieve—a uniquely Canadian identity. Few prime ministers can attest to leaving a legacy so great as to have forged an entirely new cultural symbol for their country.

A black-and-white photograph of a man holding an illustration of the Canadian flag.

Lester B. Pearson’s press conference regarding the new flag, December 1964. Photograph by Duncan Cameron (MIKAN 3199509)

A year of celebration

Not only was Pearson responsible for championing a new Canadian flag, but he was also lucky enough to remain in office during Canada’s centennial year. In his Dominion Day speech on July 1, 1967, Pearson called on Canadians to celebrate their past and their achievements, but also encouraged them to think of the future and of the legacy that they could leave for the next generation of Canadians. Much like this year, when we celebrated Canada’s 150th anniversary of Confederation and were encouraged to think of our future as a nation, 1967 was also a year filled with celebrations.

The aim of the centennial celebrations were twofold: to create memorable events and activities for all Canadians and to create a tangible legacy that current and future generations could enjoy. In fact, both the provincial and federal governments encouraged Canadians to celebrate by creating their own centennial projects—films, parades and festivals, tattoos, recreation centres, stadiums, etc.—and agreed to match their spending. One of the most memorable celebrations was that of the 1967 International and Universal Exposition or Expo 67, as it was nicknamed. Open from April 27 to October 29, Expo 67 is considered one of the most successful World’s Fairs and one of Canada’s landmark moments.

A colour photograph of a group of men standing in front of an enlarged map of New France.

Expo 67’s opening day with its General Commissioner Pierre Dupuy, Governor General of Canada Roland Michener, Prime Minister of Canada Lester Bowles Pearson, Premier of Québec Daniel Johnson and Mayor of Montréal Jean Drapeau (MIKAN 3198338)

For many Canadians, 1967 characterized the peak of nostalgia and indeed a year filled with optimism. With this optimism and increased governmental spending, Pearson’s popularity boomed and further solidified his accomplishments as prime minister and widespread support for the Liberal Party amongst Canadians.

Conclusion

Forty-five years ago, on December 27, 1972, after a long and successful political career, Lester B. Pearson passed away. His passing struck a chord with many Canadians as more than 1,200 people attended his funeral service to pay their last respects. Pearson’s legacy and indeed his name are still present today in the numerous awards and buildings named in his honour. Paving the way for what many Canadians and the international community alike have come to love about Canada, Pearson can be said to have shaped and indeed laid the foundation for the Canada we know today.

A black-and-white photo of man standing under an interesting architectural building.

Prime Minister of Canada Lester Bowles Pearson in front of the Katimavik at Expo 67 (MIKAN 3198467)

The Lester B. Pearson fonds preserved by Library and Archives Canada consists of 435.71 meters of textual records, over 3,500 photographs, 315 audio recordings on various formats, 3 films totalling 47 minutes, 54 items of documentary art, and 98 medals.

Related links

Mariam Lafrenie is an undergraduate student research fellow from Queen’s University who worked in the Private Archives Branch at Library and Archives Canada during the summer of 2017.

Guest curator: Katie Cholette

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Banner for the guest curator series. CANADA 150 is in red along the left side of the banner and then the bilingual text: Canada: Who Do We Think We Are? and under that text is Guest curator series.Canada: Who Do We Think We Are? is a new exhibition by Library and Archives Canada (LAC) marking the 150th anniversary of Canadian Confederation. This exhibition is accompanied by a year-long blog series.

Join us every month during 2017 as experts, from LAC, across Canada and even farther afield, provide additional insights on items from the exhibition. Each “guest curator” discusses one item, then adds another to the exhibition—virtually.

Be sure to visit Canada: Who Do We Think We Are? at 395 Wellington Street in Ottawa between June 5, 2017, and March 1, 2018. Admission is free.

Red and black Norwegian text on a cream background awards the prize to Lester Bowles Pearson. Text is topped by a red lion holding an axe on a blue mountain bordered by blue waves with a circled star at the top.

Nobel Peace Prize awarded to Lester B. Pearson for his role in establishing United Nations Peacekeeping, 1957. Designed by Gerhard Munthe for the Nobel Committee (MIKAN 4900031)

Former Prime Minister Lester B. Pearson’s idea for a neutral military force, to help stabilize conflict zones, earned him the Nobel Prize. Most Canadians now regard peacekeeping as uniquely ours.

Tell us about yourself

I have always had an interest in graphic design. My first career was as a graphic artist and typesetter. I eventually found my way into art history, teaching and now archival work. Although I work primarily with textual documents these days, I am frequently delighted by the array of aesthetically pleasing items in LAC’s collection.

Is there anything else about this item that you feel Canadians should know?

Lester B. Pearson won the Nobel Prize for his role in negotiating a peaceful resolution to the 1956 Suez Canal Crisis. The crisis erupted when Egyptian President Gamel Abdel Nasser seized and nationalized the Suez Canal (then jointly owned by France and Great Britain), a move that threatened the supply of oil to Europe. In retaliation, France, Great Britain and Israel secretly collaborated to attack the Sinai Peninsula. The United States and the Soviet Union subsequently became embroiled in the conflict, with the Soviet Union threatening to use nuclear weapons against the assailants. Pearson, at the time Secretary of State for External Affairs and head of Canada’s delegation at the United Nations, stepped in and helped establish the United Nations Emergency Force, which was instrumental in de-escalating the conflict.

At the presentation ceremony on December 10, 1957, in Oslo, Norway, the Chairman of the Nobel Committee, Gunnar Jahn, stated that the prize was being awarded to Pearson because of “the powerful initiative, strength, and perseverance he has displayed in attempting to prevent or limit war operations and to restore peace in situations where quick, tactful, and wise action has been necessary to prevent unrest from spreading and developing into a worldwide conflagration.”

Although Pearson was awarded the Nobel Prize in 1957, the design of the certificate dates from the beginning of the 20th century. In addition to hand-drawn calligraphy, it features a lithograph designed by Gerhard Munthe in 1901, the year the Nobel Peace Prize was first awarded. A Norwegian painter, decorative artist and illustrator, Munthe took many of his artistic motifs from his native Norway. He worked in the National Romantic Style, the Scandinavian version of Art Nouveau in the late 19th and early 20th centuries. This style, which was a reaction against industrialism, promoted ideas of northern nationalism based on the renewal of interest in Norse mythology and sagas. The illustration at the top of the certificate shows a lion holding an axe, a symbol of power and courage that appeared in Norwegian folk art as far back as the 13th century. The motif also appears on the coat of arms of Norway. Atop a decorative frieze of stylized fir trees, the lion stands proudly in a wild northern landscape. Northern lights swirl above his head, and the image is surmounted by the North Star. Although the overall design is delicately rendered and restrained, it is nevertheless a powerfully evocative image.

Detail of the certificate showing a red lion holding an axe on a blue mountain bordered by blue waves and a star in a circle.

Detail of Pearson’s Nobel Peace Prize showing the lion on the certificate  (MIKAN 4900031)

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Pearson wearing a suit with a bow tie and holding a pencil in his upraised hand.

Lester B. Pearson holding a pencil. Photo taken August 11, 1944. (MIKAN 3607934)

A smiling man speaking with another man against a curtained window with the drapes drawn back. Both men are wearing suits and ties.

Anthony Eden. Photo by the Alexandra Studio. (MIKAN 3215249)

I was particularly struck by a photograph that shows Lester B. Pearson with another of the key players in the Suez Crisis: British Prime Minister Sir Anthony Eden. Duncan Cameron, an Ottawa photographer from Capital Press Limited (and the only Canadian contract photographer for Time Life Inc.), snapped the photo of Pearson and Eden outside the Parliament Buildings in Ottawa on February 6, 1956. Eden, who had known Pearson since the 1930s, was visiting Canada and had just given a speech to the House of Commons. A long-time politician known for his skill in public affairs, Eden succeeded Winston Churchill as prime minister of the United Kingdom in 1955. In the photograph, the two men appear relaxed and happy; there is no premonition that a rift would develop between Canada and Great Britain a few months later, after Eden collaborated with France and Israel to invade Egypt. While Pearson went on to win the Nobel Peace Prize, become Canada’s 14th prime minister, and gain a reputation for international diplomacy, Eden’s popularity took a nosedive, and as he was in ill health, he resigned in February 1957. Interesting side note: the photographer, Duncan Cameron, would eventually join the Public Archives of Canada, where he became Photo Custodian of the National Photographic Collection. LAC holds his fonds, which consists of 175,000 prints, negatives and slides.

Biography

Katie Cholette is an archivist in the Governance and Political Archives section. She is currently working in the private military and non-LAC Act institutions areas. Katie has a BA in Art History, an MA in Canadian Art History, and a PhD in Canadian Studies. She has previously worked as the Curator of Acquisitions and Research and the Curator of Exhibitions at the Portrait Gallery of Canada (2007–2008; 2011), held two Research Fellowships in Canadian Art at the National Gallery of Canada (2006; 2012–2013), and taught courses in Art History and Canadian Studies and at the College of the Humanities at Carleton University (2003 to present). She has delivered papers and published articles on various aspects of art, architecture, culture and identity, and has worked on a number of freelance curatorial and research projects. As a student at Carleton, she was a regular patron of Mike’s Place, the graduate student pub named in Lester B. Pearson’s honour.