Handout
Your previous books have all been war-related. How did you end up writing a biography of two Canadian artists?My previous work as a military historian was my entrée to Molly’s and Bruno’s work. I had come across Molly’s iconic portrait of the African Canadian soldier Eva May Roy,, the only named portrait of a member of the Canadian Women’s Army Corps; and paintings of CWACs in industrial laundries and kitchens.
The public did not, however, join in this benign neglect. Molly’s flower paintings and crowd scenes sold very well in galleries in Fredericton, Toronto and Montreal. One measure of her popularity is that of all female artists active after 1971 – the midpoint of her career – Molly was the highest earner on the secondary art market. Bruno’s works sold also, though his larger expressionist-inspired works were not as popular as his landscapes and cityscapes.
Another difference concerns faces. In her war art, Molly painted hundreds of faces; some detailed, some line drawings, some even cartoony – each image clearly bespoke and individual. Save for one single, very stylized face on a German who was quite placidly dead, the faces in Bruno’s major war art are all in profile or too far away to be seen clearly. Some remind me of Mad magazine’s black-and-whiteimages. After the war, Molly almost never paints another face.
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