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Manitoba Willows, c.1929–31

Painting by Bertram Brooker of a willow tree with bare branches reaching up to a blue-grey sky streaked with peach clouds. The hilly ground beneath the tree is mostly beige with some green areas.

Bertram Brooker, Manitoba Willows, c.1929–31, oil on canvas, 30 x 38 cm, private collection.

Manitoba Willows marks a turning point in Brooker’s career. For the first time, he fully fuses abstract and representational elements. Art historian Joyce Zemans suggests a reason for this shift: “Brooker came to realize that most people could not respond to his abstract ‘world and spirit paintings’ and turned from his early experiments in abstraction.” From this point forward Brooker’s career would be increasingly devoted to finding various ways to mix abstraction and representation.

Gallery

Minimalist pencil drawing by Bertram Brooker of a bug-like figure looking straight ahead with two large eyes made of many small circles. Its head is on top of a body covered by a billowing cape with one very thin arm visible and pointing to the side. Small dots outline the figure and leave it to form circular patterns. Overlapping the figure is the title "ULTRAHOMO THE PROPHET" in bubble lettering.

Ultrahomo, c.1912–13

Abstract painting by Bertram Brooker of zig-zagging 3D lines in blue, yellow, orange, and green coming out of blue circles in the background.

Sounds Assembling, 1928

Abstract painting by Bertram Brooker of black, jutting industrial cylinders in front of floating organic shapes and a blue sky. Green, purple, and grey mountains made of soft curves overlap the cylinders in front.

Alleluiah, 1929

Painting by Bertram Brooker of a willow tree with bare branches reaching up to a blue-grey sky streaked with peach clouds. The hilly ground beneath the tree is mostly beige with some green areas.

Manitoba Willows, c.1929–31

Abstract painting by Bertram Brooker of a semi-human figure made of faceted, multicoloured shapes hurling itself across the canvas in a robotic way. In the background are horizontal shapes stacked like pyramids and rays of light.

Striving, c.1930

Painting by Bertram Brooker depicting the nude torsos of two pale women, one lying down on her side and the other sitting but leaning over. Their bodies are blocking the view of the simple landscape in the background, a few hills and some water still visible in the top half of the canvas.

Figures in a Landscape, 1931

Still life painting by Bertram Brooker of a round squash, two lemons, and a bowl on top of a table covered by a white table cloth. The fruits and table cloth have more realistic shading and textures, yet the bowl, its shadow, and the background are rendered with precise abstract lines in a flat Cubist style.

Still Life with Lemons, c.1936

Painting by Bertram Brooker of a peaceful hilly landscape on the edge of lake, the land different patches of green dotted with small homes. Above is a large white cloud, partly transparent, taking up the top half of the canvas and blocking the view of distant mountains.

The Cloud, c.1942

Painting by Bertram Brooker of a clock face with other time-related objects floating in front of it, including a sundial, an hourglass, a bell, and the swinging pendulum of a grandfather clock. They are realistically shaded while other shapes and objects, including profiles of two human faces, are drawn as only outlines and have areas painted in solid colours.

Swing of Time, 1954

Minimalist pencil drawing by Bertram Brooker of a bug-like figure looking straight ahead with two large eyes made of many small circles. Its head is on top of a body covered by a billowing cape with one very thin arm visible and pointing to the side. Small dots outline the figure and leave it to form circular patterns. Overlapping the figure is the title "ULTRAHOMO THE PROPHET" in bubble lettering.

Ultrahomo, c.1912–13

Abstract painting by Bertram Brooker of zig-zagging 3D lines in blue, yellow, orange, and green coming out of blue circles in the background.

Sounds Assembling, 1928

Abstract painting by Bertram Brooker of black, jutting industrial cylinders in front of floating organic shapes and a blue sky. Green, purple, and grey mountains made of soft curves overlap the cylinders in front.

Alleluiah, 1929

Painting by Bertram Brooker of a willow tree with bare branches reaching up to a blue-grey sky streaked with peach clouds. The hilly ground beneath the tree is mostly beige with some green areas.

Manitoba Willows, c.1929–31

Abstract painting by Bertram Brooker of a semi-human figure made of faceted, multicoloured shapes hurling itself across the canvas in a robotic way. In the background are horizontal shapes stacked like pyramids and rays of light.

Striving, c.1930

Painting by Bertram Brooker depicting the nude torsos of two pale women, one lying down on her side and the other sitting but leaning over. Their bodies are blocking the view of the simple landscape in the background, a few hills and some water still visible in the top half of the canvas.

Figures in a Landscape, 1931

Still life painting by Bertram Brooker of a round squash, two lemons, and a bowl on top of a table covered by a white table cloth. The fruits and table cloth have more realistic shading and textures, yet the bowl, its shadow, and the background are rendered with precise abstract lines in a flat Cubist style.

Still Life with Lemons, c.1936

Painting by Bertram Brooker of a peaceful hilly landscape on the edge of lake, the land different patches of green dotted with small homes. Above is a large white cloud, partly transparent, taking up the top half of the canvas and blocking the view of distant mountains.

The Cloud, c.1942

Painting by Bertram Brooker of a clock face with other time-related objects floating in front of it, including a sundial, an hourglass, a bell, and the swinging pendulum of a grandfather clock. They are realistically shaded while other shapes and objects, including profiles of two human faces, are drawn as only outlines and have areas painted in solid colours.

Swing of Time, 1954

Manitoba Willows - Art Canada