page_title: Art of Newfoundland and Labrador
section_title: Beothuk art
hierarchical_section_title: Art of Newfoundland and Labrador / Art in Newfoundland / Beothuk art
caption_attribution_description: English: "Emblems of Red Indian Mythology" (sketch IX) by Shawnadithit
context_page_description: The art of Newfoundland and Labrador has followed a unique artistic trajectory when compared to mainland Canada, due to the geographic seclusion and socio-economic history of the province. Labradorian art possesses its own historical lineage.
  While the history of craft and folk art in Newfoundland and Labrador is extensive, fine arts practices have developed primarily since 1949, when the province joined Canada. Prior to Confederation, the majority of fine art was created by visiting and itinerant artists. Newfoundland and Labradorian art developed significantly after joining Canada, with the introduction of government initiatives. Since the 1960s in particular, waves of artists have established practices on the island, many with strong roots in the province. Others have been introduced by professional opportunities, residency programs, art education programs, and galleries. An established community of artists is now widely recognized, and creates work in a variety of media.
context_section_description: Beothuk were the indigenous inhabitants of Newfoundland from AD 1500 onward, now believed to be largely extinct due to a contraction in their territories following contact with Europeans. Little documentation exists about their cultural practices. Many Beothuk artifacts were discovered in grave sites during the late 19th and early 20th centuries, and include carved bone, antler and ivory pendants intricately decorated with incised patterns.  Another notable feature of Beothuk culture was the use of powdered hematite, or red ochre, which they used to paint their canoes and other artifacts, and their bodies.
  In 1829, ten drawings were obtained by Mr W. E. Cormack during the winter of 1829 from the last known full-blooded Beothuk, Shanawdithit, while she resided in his St. John's house. They present articles of food, utensils, implements and emblems used by the Beothuk, as well as scenes enacted on or near the Exploits River and Red Indian Lake between the years 1810 and 1823. "Although rude and truly Indian in character," James P. Howley wrote in 1915 (judging them by European aesthetic standards),"they nevertheless display no small amount of artistic skill, and there is an extraordinary minuteness of topographical detail in those having reference to the Exploits River and adjacent country. These latter bear a striking resemblance to Micmac sketches of a similar character, such as I have frequently seen and made use of, when accompanied by Micmac canoemen on the Geological Survey of the Island. There is one notable omission in either, i.e., the entire absence of anything like a regular scale. As a rule, rivers and lakes are greatly exaggerated, and particular features, which may in nature be situated widely apart, are frequently crowded into a very small space; the reverse being just as frequently the case."
caption: "Emblems of Red Indian Mythology" (sketch IX) by Shawnadithit